Pinocchio: An Opera in Two Acts

University of Tennessee, Knoxville University of Tennessee, Knoxville

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Pinocchio: An Opera in Two Acts Pinocchio: An Opera in Two Acts

Aaron Lee Hunt University of Tennessee, [email protected]

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To the Graduate Council:

I am submitting herewith a thesis written by Aaron Lee Hunt entitled "Pinocchio: An Opera in

Two Acts." I have examined the final electronic copy of this thesis for form and content and

recommend that it be accepted in partial fulfillment of the requirements for the degree of

Master of Music, with a major in Music.

Andrew Sigler, Major Professor

We have read this thesis and recommend its acceptance:

Nathan Fleshner, Kevin Class

Accepted for the Council:

Dixie L. Thompson

Vice Provost and Dean of the Graduate School

(Original signatures are on file with official student records.)

Pinocchio: An Opera in Two Acts

A Thesis Presented for the

Master of Music

Degree

The University of Tennessee, Knoxville

Aaron Lee Hunt

May 2020

Copyright © 2020 by Aaron Lee Hunt All rights reserved.

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ACKNOWLEDGEMENTS

I owe an incredible to debt to many of the faculty at The University of Tennessee, Knoxville who continuously allowed me opportunities to grow as both a composer and music theorist.

I would like to thank Dr. Brendan McConville and Dr. Nathan Fleshner, who introduced me to my love for analyzing music at a much deeper level, and who helped keep me sane though a

Masters degree as well as a graduate certificate.

I want to thank Lorraine DiSimone, who took a chance on me during her final year of teaching to allow me to write an opera for her program VolOpera, as well as the student leadership of the

program who so kindly welcomed me and my work into their organization.

I would like to acknowledge the Thomas family’s generous funding of this project though their donation for thesis grants to The College of Arts & Sciences.

Finally, I would like to thank Dr. Andrew Sigler, who mentored me through finding my voice in music. You have continuously gone above and beyond to aid me in my pursuit to become a

composer. You have unbeatably been the largest influence in my path to success in this field. You have my deepest, most heartfelt thanks, and I owe you a debt that could never be repaid.

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PREFACE

Late in the Fall of 2020, I approached Professor Lorraine DiSimone, the director of VolOpera and member of the wonderful voice faculty at The University of Tennessee, Knoxville, about composing a short opera for her undergraduate opera program, VolOpera. We began debating concepts for the work, and it quickly turned into a project of a much larger scale. Having secured additional funding with a grant from The College of Arts & Sciences, we began the work on what would become a seventy minute work based on Carlo Collodi’s classic tale, Pinocchio. As the scale of the work became so large, it became the focus of my thesis project, wherein I was to write a large scale work, and then present writing on the compositional process and details within the work. This thesis serves as an academic requirement for my Master of Music in Composition degree, but furthermore stands as a testament to what I was able to accomplish with the resources and opportunities I was given from the School of Music and The College of Arts & Sciences during my time at The University of Tennessee, Knoxville.

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ABSTRACT

Pinocchio: An Opera in Two Acts is a work composed for a minimum of ten singers and a

thirteen piece orchestra (piano reduction available). It consists of two acts, split into a total of

nine scenes, lasting approximately seventy minutes in length, before intermission and scene

changes. The opera was commissioned by VolOpera, the current undergraduate opera program, at

The University of Tennessee, Knoxville, as well as serving for partial fulfillment of the

requirements of the Master of Music Degree with a concentration in Composition from the

university. The subject matter of the work is an interpretation of Carlo Collodi’s famous

children’s novel Pinocchio, that aims to remain more true to the original content of the work than

other adaptations of the work, such as the 1940 Walt Disney adaptation.

This document will outline the compositional process for the work. It does not serve as an

in-depth analysis of the opera, but rather to outline the methodology used for the work’s creation.

It will outline both broad scale considerations and constraints for composing an opera, as well as

discussing concepts that are more particular to the composition of Pinocchio: An Opera in Two

Acts. Throughout this thesis, my aim is to give the reader a better insight of what it is like to

compose an opera though the experience of composing this work.

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TABLE OF CONTENTS

1. Introduction 1 ........................................................................................................................

2. Background 1 ........................................................................................................................

3. Determining My Own Interpretation 3 .................................................................................

4. The Constraints, Concerns, and Logistics of Composing an Opera 7 ..................................

5. Final Synopsis of Libretto 13 ..................................................................................................

6. Telling a Story through Music 19 ...........................................................................................

7. Recitative and Sprechstimme: Developing Dialogue through Music 23 ................................

8. Setting a Consistent Musical Tone 28 .....................................................................................

9. Consideration for the Rehearsals of an Opera Premiere 29 ....................................................

10. Opera as a Living Work 31 ...................................................................................................

11. Conclusion 34 .......................................................................................................................

References 35 ..............................................................................................................................

Appendix 38 ................................................................................................................................

Vita 189.........................................................................................................................................

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LIST OF FIGURES

Figure 2.1 Characters in Aaron Hunt’s opera adaptation of Pinocchio 6 .................................

Figure 2.2 Combined Characters in Aaron Hunt’s Pinocchio 7 ................................................

Figure 3.2 Functional Dramatic Motors in Opera 11 .................................................................

Figure 4.1 Summary of Scenes in Aaron Hunt’s Pinocchio 19 .................................................

Figure 5.1 Excerpt from “Baba’s Aria” in Stravinsky’s The Rake’s Progress 21 ......................

Figure 5.2 Incorrect Number of Syllables in “Vienna” (m. 158) : Excerpt mm. 158-161 22 ....

Figure 5.3 Overly Brief Portamento in mm. 168-169 22 ...........................................................

Figure 5.4 Babas Song 22 ..........................................................................................................

Figure 6.1 Rhythmically Fixed Speech in Berg’s Wozzeck, Act 2, scene 4, m. 514 26 .............

Figure 6.2 Half-singing in Berg’s Lulu, Act 1, scene 2, m. 671 26 ...........................................

Figure 6.3 Sprechstimme in Pinocchio, Act I, scene 2, mm. 477-479 27 ..................................

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“Pinocchio: An Opera in Two Acts”

Introduction

At the end of the summer of 2019 I began working on composing a chamber opera based

on Italian author Carlo Collodi’s widely known work, The Adventures of Pinocchio. The opera

was to be written for the University of Tennessee, Knoxville’s undergraduate opera program,

“VolOpera” under the direction of Lorraine DiSimmone. My opera, simply titled Pinocchio: An

Opera in Two Acts, was to be designed for both the strengths and weaknesses of this ensemble,

and be comprised of approximately seventy minutes of music. Most importantly, this work had to

be written for singers who are in the earlier stages of their artistic development. In this thesis I

will discuss the background of Collodi’s original work, thoughts behind my decisions concerning

my own interpretations, the difficulties and methodologies of composing an opera, and finally

my process for composing Pinocchio: An Opera in Two Acts.

Background

Carlo Collodi’s Pinocchio, originally released under the title The Story of a Puppet, was

published as a sixteen-part serial in the italian children’s magazine “Giornale per i

bambini” (Newspaper for Children), one of the earliest Italian weekly magazines for children,

beginning on July 7th, 1881. In February of 1883, the story was published to a novel by Collodi

with the title that is known today; Pinocchio. The story quickly became a success an would see

its first major publication outside of Italy in Great Britain in 1891 with, only a year after

Collodi’s death. This version would feature illustrations by Enrico Mazzanti, whose imagery for

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the novel has become synonymous with the titular character Pinocchio. The story quickly 1

received international success after its publication in Great Britain and has since been published

in over 300 languages, rivaled only by The Bible in translated texts published worldwide. 2

Pinocchio is often seen as a metaphor for the human condition, as Pinocchio’s growth

through struggling with morality and empathy can be reflected in many aspects of both

psychology and that of many religious ideologies. This metaphor holds particularly true in

Collodi’s original work, wherein the titular character witnesses and experiences the more harsh,

dark, and violent natures of the world through the consequences of his mischievous deeds. This

is in stark contrast to the more culturally popular adaptation (in western culture) of Walt Disney’s

1940 animated interpretation, which was vastly reinterpreted for a more family-friendly

audience. In spite of the fact that it became popular in a children’s magazine, the work is 3

incredibly dark and violent, featuring brutal punishments for Pinocchio, going as far as seeing

Pinocchio being hung from a tree until he is at the brink of death. This has resulted in many

adaptations being edited to be more child-friendly, despite its darker origins.

Since its release, the novel has become a canonical piece of children's literature, and the

story, or at least the character Pinocchio himself, has been adapted into stage plays, musicals,

television series, and movies, such as Walt Disney’s iconic animated version that released in

1940. The work has also been adapted into operas by composers such as John Davies, who

“The Adventures of Pinocchio,” Fondazione Nazionale Carlo Collodi, accessed August 1

26, 2019. http://www.pinocchio.it/fondazionecollodi/en/the-adventures-of-pinocchio/

Francelia Butler, Children’s Literature, Yale University Press, 1972. 2

No Strings Attached: The Making of Pinocchio, Pinocchio DVD, Walt Disney 3

Productions, 2009.

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turned the work into a sort of “Jukebox Opera” for child audiences, wherein the songs,

interrupted by dialogue instead of libretto, are based on opera arias from the classical period set

to new english text, Jonathan Dove, who turned the work into a large production in 2007, with a

massive cast of characters and production demands, and finally my own interpretation of

Collodi’s Pinocchio, which will premiere in the Fall of 2020. , 4 5

Determining My Own Interpretation

Seeing as I functioned as both the composer and the librettist of this work, I would have

an interesting vantage point as well as a daunting responsibility in creating my own unique

interpretation of this classic piece of literature. In many cases the libretto will be written by a

separate person, typically a person whose background is in poetry, literature, or creative writing,

but is sometimes handled by the composer themselves. When a composer is writing the libretto

themselves they are presented with one of two options; they can choose to think of the musicality

of the text as they write, effectively writing both the libretto and music simultaneously, as done

by composer Gian-Carlo Menotti in all of his operas, or to attempt to separate the process

entirely, writing the text within its own dramatic and poetic right before thinking about it in a

musical sense, a method employed by American composer Carlisle Floyd. When composing my 6

own adaptation of Pinocchio, I opted for the former option, choosing to write the text directly

into each musical idea. There are a couple of exceptions to this present throughout arias in the

John Davies, “Pinocchio” Opera Tales, accessed August 26, 2019. www.operatales.com/4

pinocchio.shtml

Jonathan Dove, “The Adventures of Pinocchio” Jonathan Dove, accessed August 26, 5

2019. www.jonathandove.com/the-adventures-of-pinocchio.html

Lee Berger “Carlisle Floyd, Of Mice and Men Interview” Filmed February 2013. 6

Youtube Video. 2:56. www.youtube.com/watch?v=1p5HNM6DPsw

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work, but these moments of predetermined libretto writing were usually due to the need for

planned syllabic structure for repeated musical material, or were due to the brisk pacing of text,

as can be seen in the Ringmaster’s aria in Act II.

Many factors in my interpretation are the result of entirely pragmatic reasons. One major

consideration was the requested length of the work. VolOpera’s director requested that the work

be approximately seventy minutes in length. This is a far cry from composer Jonathan Dove’s

adaptation which clocks in at approximately 140 minutes in length. Much of this requested

duration stemmed from the amount of rehearsal time that was feasible for the ensemble to

achieve, with the entirety of the cast consisting of students who are enrolled in undergraduate

studies full time. The constraints of this length resulted in a need to remove, or cut, a massive

amount of material from Collodi’s original work. This translated into removing any of the

several stories present within the work that were not strictly mandatory in order for the audience

to understand the overarching narrative and moral of the story. Many of these “side-stories” were

surely a result of the work’s initial serial formatting. A large portion of these seem to primarily

focus on punishing Pinocchio for individual wrong-doings, annoyances, or occasionally for

simply being in the wrong place at the wrong time. For example, there is a moment in the

original story where Pinocchio is abducted by a large fisherman for looking like a strange and

rare fish. The fisherman intends to eat Pinocchio before realizing that he is made of wood and

tastes poorly due to his time floating at sea. Any plot line that only seemed to serve these 7

tertiary punishments were immediate candidates for removal from my interpretation of the plot.

Collodi, Carlo., and Carsey, Alice. Pinocchio : The Tale of a Puppet. Minneapolis: 7

Lerner Publishing Group, 2015.

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An aspect that made many of the cuts to the work easier was the number of singers that I

had available to be in the cast. With a total of ten undergraduate singers coming from various

skill levels and backgrounds, I had to determine which characters were the most integral to

maintaining a coherent representation of Collodi’s moral tale. One work-around that is present in

the work is my use of doubling cast members to play multiple characters within the opera. This

can be seen in doublings such as the bass-baritone performer who plays both Mangiafuoco the

Fire Eater and the Ringmaster of the Toyland Circus during the production. This worked to

include as many characters as possible, but with the original work’s ensemble of thirty

characters, many still had to be cut from the production entirely. One pragmatic constraint that

extended from doubling cast members to roles was the result of the amount of time that it takes a

performer to switch costumes and makeup between roles. This meant that a performer could not

practically perform two different roles in consecutive scenes, as this would not allow enough

time for the performer to switch into the appropriate costume and makeup for the following role.

In the end, this resulted in seventeen roles being split between the ten cast members, with twelve

being removed from the plot entirely (Figure 2.1). The giant shark, or a whale in my production,

is still present within the opera, but has no lines and the outside of the beast is never seen, so I

did not feel the need to include it as a character, as it is more of a set than anything.

The combination for the need to remove length from the production while simultaneously

removing many of the characters from the plot manifested in my interpretation in two ways. The

first method, as previously listed, was to remove entire sections from the plot that were deemed

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Figure 2.1 Characters in Aaron Hunt’s opera adaptation of Pinocchio

to be unnecessary. In some cases this involved minor rewriting of material in order to create

more fluid dramatic transitions for the audience to understand, seeing as large portions had been

removed from the plot. The second method was to combine the functions of excluded characters

into the dramatic actions of characters that were to be included in the plot. For example, The

Ringmaster seen in Act II’s Toyland Circus, serves as a combination of The Ringmaster, The

Little Man (the owner of the circus in the original work), and The Dormouse (who informs

Pinocchio and Candlewick about “Donkey Fever”). These characters have small contributions to

the plot individually, but serve as a much larger character when combined under the guise of the

Toy-land Circus’ lone ringmaster. Another example includes Geppetto, who is actually a

combination of Mister Geppetto and Mastro Antonio. In Collodi’s original version, it is Mastro

Antonio, a woodcarver, who finds the sentient log that becomes Pinocchio, who he initially

intends to carve into a table leg. After Pinocchio’s initial mischievous acts of kicking Mastro

Characters in Aaron Hunt’s Pinocchio

Included (in order of appearance)

Geppetto, Pinocchio, Mr. Cricket, The Fox, The Cat, Signora, Harlequin, Punch, Mangiafuoco, A Policeman, The Ghost of Mr. Cricket, The Blue Fairy, Candlewick, The Ringmaster, The Drummer, The Whale (giant shark)

Excluded Mastro Antonio, The Innkeeper, The Falcon, Medoro, The Owl, The Parrot, The Judge, The Serpent, The Farmer, The Glowworm, The Pigeon, The Dolphin, The Snail, Alidoro, The Green Fisherman, The Little Man, The Dormouse, The Tuna Fish, Giangio

Additional (not in Collodi’s The Tale of a Puppet)

Two girls in the crowd at the circus

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Antonio, he intends to chop him up, but Pinocchio is rescued by Mister Geppetto who seem to

see the potential for a good nature in the boy, but more importantly wishes for a son. As Mastro

Antonio’s only contribution to the plot is to carve Pinocchio into the shape of a boy at the

beginning, it made more sense to combine Mastro Antonio’s contributions to the plot into the

character of Geppetto. A full list of combined characters can be seen in Figure 2.2.

Figure 2.2 Combined Characters in Aaron Hunt’s Pinocchio

The Constraints, Concerns, and Logistics of Composing an Opera

Composing an opera is a complicated endeavor to say the least. There are any number of

difficulties about composing an opera that one could list, citing factors such as the massive scale

of the works, the large number of collaborators involved, the length of the editing process

through the rehearsals leading up to a premiere, or the panic inducing reality of having an

incredibly brief window of time to hear how all of the parts will actually fit with your

orchestration (in many cases this is only one or two weeks, or even a couple of days, before the

Character in Aaron Hunt’s Adaptation of Pinocchio

Characters whose Function is Combined into said Character

Geppetto Geppetto, Mastro Antonio

Mr. Cricket / The Ghost of Mr. Cricket Mr. Cricket, The Parrot,

The Blue Fairy The Blue Fairy, The Falcon, The Pigeon, The Snail

The Ringmaster The Ringmaster, The Little Man, The Dormouse

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performance), but the most complicated element of writing an opera stems from how the

composer must interact with and understand the non-musical elements of writing an opera. This 8

is due to the fact that opera is an all encompassing art form, or Gesamtkunstwerk, a term

popularized by and that is often accredited to 19th century opera composer Richard Wagner, but

actually originates from German writer and philosopher Carl Friedrich Eusebius Trahndorff. 9

Opera is one of the only true examples of Gesamtkunstwerk, as it contains theatre, visual art,

architecture (set design), fashion, choreography, photography in video (with the current

popularity of projections), and of course, music, which has often been described as a universal

language. , This sense of music as a universal language is what truly makes opera a form of 10 11

Gesamtkunstwerk, as a visceral emotional response is often ascribed as one of the defining

points of high quality art. This process of creating a visceral human connection through music 12

is the primary portion of the composers job, while most other aspects are created through some

level of collaboration with others.

David Bruce “How to Write an Opera” Filmed November 2018. Youtube Video. 8

www.youtube.com/watch?v=MmHCYRW8R-4

Carl Friedrich Eusebius Trahndorff, Ästhetik oder Lehre von Weltanschauung und Kunst 9

(Berlin, Germany: Maurer: 1827)

Osbourne, Morgan McConathy, Russell Van Dyke, Lindsay, George Le Roy, and 10

Howell, Alfred. Music, the Universal Language. New York, Chicago;: Silver Burdett Company, 1941.

Kathleen Marie Higgins, The Music between Us : Is Music a Universal Language? 11

Chicago ; London: University of Chicago Press, 2012.

Jane E. Else, Jason Ellis, and Elizabeth Orme. "Art Expertise Modulates the Emotional 12

Response to Modern Art, Especially Abstract: An ERP Investigation." Frontiers in Human Neuroscience 9, no. SEPTEMBER (2015): 525.

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Selecting the subject matter of an opera is arguably one of the most crucial decisions of

the writing process, as the audience’s ability to find a meaningful connection to one or more of

the characters will determine their ability to maintain an emotional investment in the work. An

opera’s story must have a dramatic arc that will keep the audience engaged throughout the work,

as in many cases, you are asking for one to four hours of the audiences undivided attention with

only a break or two in the forms of intermissions. This results in the need for solid dramatic

structure throughout the narrative. Dramatic structure is almost always built around five main

sections of any given story (Figure 3.1). The first portion comes in the form of the exposition,

where the characters, setting, and often the event or transgression that will serve as the dramatic

motor are introduced. The next portion, which is often the longest portion, if not almost the

entirety of an opera, is the rising action, where whatever event that has set the story into motion

begins to unfold and gives the audience more insight into characters’ backgrounds, actions, and

motivations. This will eventually unfold into the climax, or what often constitutes as the

audience’s greatest moment of doubt. Will the protagonist(s) succeed, or be defeated?

Maintaining this uncertainty into the climax is critical in order to keep an audience engaged. The

final two portions come in the form of the falling action, where we begin to see to results of

events of the climax, which unfolds into the resolution, which is the audience’s final and often

cathartic observation of the characters.

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Figure 3.1 An Illustration of Dramatic Structure 13

In operas, a majority, if not all, of the observed story takes place within the first three

portions of this structure, with the last two resolving much more quickly than in straight plays,

where no musical elements, other than the potential use of incidental music, are used. In most

operas, the falling action and the resolution occur simultaneously, directly following the events

of the climax. Many operas, such as Carmen and Così fan tutte, end directly following the

climax, with almost no form of falling action or resolution. Some operas even arguably end mid-

climax. This includes operas like Benjamin Britten’s Peter Grimes, or Gian-Carlo Menotti’s The

Consul, where the dramatic conclusions are more of a question of what the falling action and

resolution “could be” rather than what is actually revealed to the audience. The primary point of

interest when selecting the subject matter for an opera then lies in the point of action or

Brian Smith “Dramatic Structure: Four Reasons Why It’s Important” Monument 13

Scripts http://monumentscripts.com/dramatic-structure-four-reasons-important/ Accessed September 28, 2019.

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motivation that occurs between the exposition and the rising action of the plot that will unfold

the audience into what is hopefully a cathartic climax.

These points of actions that drive the characters through the rising action can be broadly

cast into one of three categories (Figure 3.2). The first category is romantic desire, wherein one

of the main dramatic motors for the rising action is one character’s romantic interest in another.

This often results in love triangles or anger over unrequited love, which holds especially true in

the style of early Italian opera. The second comes in the form of transgression. Easily the

broadest category, this encompasses the severe wrong doing of one character by another, usually

leading to a character’s desire for vengeance against the assailant. The final form of dramatic

motor comes in the form of death. While this may seem similar to the category of transgression,

death encompasses deaths that are not the direct result of another characters actions. This can be

a result of natural death, disease, or suicide. It is vital for one of these motors to exist in as

something as large scale as an opera, as the audience must be able to have a way to coherently

resonate with what is happening on stage.

Personally, I find that operas that leave the audience guessing the outcome are the best

from a dramatic point of view. This can often be seen as unavoidable when setting stories that are

incredibly well known, such as fairy tales or biographical stories, but when the option is

available, leaving the audience guessing what is going to happen next creates the highest level of

dramatic interest due to the sheer factor of suspense. The best of composers can use music to

help lure the audience into forgetting that they are familiar with a story. This has been common

throughout the settings of many fairy tales in opera. Even though the audience is often familiar

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Figure 3.2 Functional Dramatic Motors in Opera

with the subject matter, the use of musical tension and phrasing can “trick” the audience so to

speak.

The final consideration that a composer should take into consideration is the “singability”

of the story. This has nothing to do with text setting or the libretto, but more so whether the story

lends itself to being sung. Most opera arias are a dramatic result of an intense emotional reaction

such as love, hatred, or intense joy, so more often than not, literature that is prone to highly

subtle nuance does not lend itself well to a musical setting. On the subject of emotional

expression through singing in opera, English composer George Benjamin had the following to

say:

Why do people sing? Benjamin replied in a long letter, enumerating every public and private use of singing that he could think of. He summarized it for me: “To pray, to march, to gain unanimity, to mock, to celebrate—that’s public singing. Private singing— feeling good, feeling ecstatic. Equally, grief. The only way to express grief is through non-verbal sounds—to cry, or to sing.” —“People sing to feel part of something bigger than themselves, which can be good, or can be very bad,” he said. “In opera, what singing

Forms of Dramatic Motors

Romantic Desire Transgression Death

Love, Marriage, Unrequited Love, Love Triangles, Sexual Desire

Murder, Assault, Rape, Oppression, Extortion, Threatening (of any of the

above), Infidelity

Natural Death, Disease, “Consumption,” Suicide

Examples in Opera

Le nozze di Figaro, La finta giardiniera, Carmen, La fille du

régiment, L'elisir d’amore, Turandot, Der Rosenkavalier

The Consul, Peter Grimes, The Rape of Lucretia, Marnie, Two Boys,

Salome, Carmen

La traviata, Gianni Schicchi, L'elisir d’amore, Little Women, Carmen, La

Bohème, Elektra

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means is that these words can’t be said. There’s something elemental, hopefully. Something deep and powerful, which needs more than just words.” 14

Benjamin’s quote really encapsulates the ability of the human voice to express the emotional

context of what a character is feeling on a completely different level, but also equally captures

singing’s limitations as well. The human voice is incredibly powerful, and can be nuanced within

a musical context, but it can also be difficult for the voice to be perceived as anything less than a

grand gesture. This holds even more true in the world of opera, where the use of microphones is

fairly uncommon. Singing is such an outward expression of human emotion to the point that it

often struggles to carry itself into more specifically detailed and subtle parts of the human psyche

and social interactions.

Final Synopsis of Libretto

In this section I will give a synopsis of my final adaptation of the work. Additionally I

will show the logistic needs for each scene in the form of casting, prop, and set needs (Figure

4.1). This will not only give a better insight to the content of the plot, but will also give a better

context to technical demands of producing this show.

The opera opens with Geppetto the woodcarver collecting and chopping wood. He finds a

large piece that he claims “would be perfect for a table leg” but is shocked when the wood

Evan Osnos “How the Composer George Benjamin Finally Found His Voice” The New 14

Yorker https://www.newyorker.com/magazine/2018/09/17/how-the-composer-george-benjamin-finally-found-his-voice Accessed September 28, 2019.

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speaks to him, protesting its forceful transformation into a piece of furniture. , At first he 15 16

believes that he has gone insane, but then the wood speaks again, professing its desire to become

a human child or “a real boy.”16 After some quick woodworking he forms the log into a puppet

shaped like a young boy and gives it the name Pinocchio. Geppetto, enraptured at the thought of

having the son that he never had, does not realize that Pinocchio’s immediate inclination is to be

a mischievous and somewhat violent child. Geppetto lectures Pinocchio on his behavior and

what he must do to be considered a good boy. Pinocchio seems to understand prompting

Geppetto to trust him to stay in his house alone while he performs a variety of chores. However,

Gepetto informs Pinocchio not to touch the wood stacked in the home, as it is “good wood”

intended for woodcarving. 17

Pinocchio starts sweeping the floors with good intentions, but almost immediately

becomes bored and justifies a nap to himself, opting to use some of Geppetto’s wood in a furnace

to warm the house. When attempting to fall asleep Pinocchio is interrupted by the loud chirping

of Mr. Cricket, who has lived in the house a long time, and is displeased with Pinocchio’s

inconsiderate treatment of Geppetto. Mr. Cricket attempts to further Pinocchio’s education on

what it means to be a good boy. Upon Pinocchio being dismissive of Mr. Cricket, based on the

fact that he is not a real boy either, he takes a somewhat lower path, opting to annoy Pinocchio

until he does his chores. Pinocchio, reaching his limits of annoyance, opts to kill Mr. Cricket

Collodi, Carlo., and Carsey, Alice. Pinocchio : The Tale of a Puppet. Minneapolis: 15

Lerner Publishing Group, 2015.

Hunt, Aaron. Pinocchio: An Opera in Two Acts. Knoxville, TN: Aaron L. Hunt 16

Publishing, 2020.


Publishing, 2020.

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with one of Geppetto’s hammers, seeming mostly pleased with himself, completely unaware of

the moral implications of his actions. Content with the newfound silence in the home Pinocchio

settles down for a nap.

During his nap, Pinocchio accidentally sticks his feet in the fire, burning them off. When

Geppetto arrives home, Pinocchio is panicked due to the loss of his feet and screams to Geppetto

for help. Gepetto breaks down the door and puts out the fire on Pinocchio’s feet. Geppetto,

confused at how Pinocchio could have set himself on fire, realizes that Pinocchio used his

carving wood for the fire. Geppetto feels betrayed as he spent the last of his money on a present

for Pinocchio. Pinocchio indignantly asks if his present could be “new feet,” angering Gepetto. 18

He then strikes a deal with Pinocchio, agreeing to carve him new feet on the condition that

Pinocchio goes to school and behaves like a good boy. He then reveals that his present to

Pinocchio was a schoolbook.

Pinocchio, with his new schoolbook, begins his trek to his first day at school. He is

optimistic, but quite disillusioned at what he will accomplish during his first day. On his journey,

he encounters a traveling circus that has the “best” puppets in the world. He attempts to enter the

circus but is stopped by Mangiafuoco, the owner of the circus, who informs him that it costs four

pennies to attend the show. Distraught, Pinocchio attempts to sell his schoolbook for only four

pennies, before his offer is accepted by the Fox and Cat, who realize that the book is likely worth

far more than this. Excited to now have the proper funding, Pinocchio enters the circus and takes

a seat to watch the show. After a short introduction, three marionettes begin to perform a play.


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One of the puppets stops the show, recognizing Pinocchio from when they were both pieces of

wood. Following a brief reunion, Mangiafuoco re-emerges furious that his show has been

interrupted and seeks to punish whoever is responsible. Upon finding Pinocchio he threatens to

use him for firewood to cook his dinner with. Pinocchio tells Mangiafuoco his tale in an attempt

to not be set ablaze, and this seems to strike a chord with Mangiafuoco, who sees his son in

Pinocchio. He gives Pinocchio five coins to purchase a new schoolbook and sends him on his

way.

After leaving the circus Pinocchio sees the Fox and Cat again, however the Cat is now

pretending to be blind as the pair panhandles. Upon being recognized, they trick the gullible

Pinocchio into believing that they are a different Fox and Cat. Realizing that Pinocchio has five

gold coins, but will not willingly give them away, they attempt to con him by telling him about

“The Field of Miracles,” a magical place that will multiply his riches. Pinocchio begins to buy

into the con, excited at the wealth it will bring him, before it is interrupted by the Ghost of Mr.

Cricket. The apparition explains to hims that he is being conned out of his money. When

Pinocchio confronts the Fox and Cat about this, they attempt to kill him for his coins. Fortunately

they are interrupted by a passing policeman. Unfortunately they see him coming and give their

knives to Pinocchio, making him look like a crazed murderer. The policeman refuses to look at

the situation past the surface level and proudly hauls Pinocchio off to jail.

Pinocchio laments his newfound position of being imprisoned and sulks in his cell. The

Ghost of Mr. Cricket returns, but now with the Blue Fairy, who offers him a deal. She will get

Pinocchio out of jail, but in return he must be a good boy. To ensure this, she casts a spell on

Pinocchio which will cause Pinocchio’s nose to grow when he lies. She tests this on him, putting

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Pinocchio in a situation in which she finds it likely that he will lie. After finally telling the truth,

she returns his nose to normal size. The Ghost of Mr. Cricket returns, informing the two that

Geppetto has disappeared after searching for Pinocchio.

In the opening of Act II, Pinocchio returns to school, excited to learn how to find

Geppetto. Before going into school he meets Candlewick, another student who convinces

Pinocchio that he is smarter, stronger, and more popular than he actually is. The two enter school

together and re-emerge after what appears to be a long and boring class. After having done

poorly on a test, Candlewick tries to get to Pinocchio to skip class, worried that Pinocchio will

not want to be his friend if he knows that he isn’t smart. He lies to Pinocchio, telling him that he

knows of Geppetto’s location, claiming that he is at The Toyland Circus, a place where there are

no rules for children. The two jump into a stagecoach and head to the circus.

Upon arriving to the circus, Candlewick’s lie becomes apparent, but Pinocchio becomes

distracted by the excitement of the circus. They are briefly stopped by the somewhat ominous

ringmaster, who then delightfully informs them that they are allowed to do whatever they wish.

Pinocchio and Candlewick play and cause mischief before Candlewick begins to feel unwell.

The two begin to turn into donkeys as the Ringmaster returns, informing them that the land is

cursed, turning mischievous boys into donkeys which he then sells off to farms. He finds the

donkey-Pinocchio to be too unique to pass up, and opts to keep him as an attraction at The

Toyland Circus.

After several months, the Ringmaster presents donkey-Pinocchio as an attraction in front

of an excited audience. Pinocchio is obviously miserable and abused, but the audience only sees

a cute donkey who can do tricks. On the biggest trick, he fails, hurting himself in the process,

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prompting the Ringmaster to cancel the rest of the show. The Village Drummer approaches the

Ringmaster to purchase the donkey following its injury. The Ringmaster seems confused as the

donkey isn’t worth much after being injured, but the drummer explains his plan to make donkey-

Pinocchio into a drum. The Ringmaster informs him that he should not allow the donkey to get

wet, informing the audience in an aside that this will remove the curse, turning Pinocchio back

into a wooden boy. The Village Drummer immediately ignores this, and ties a rock around the

donkey’s neck before throwing him into the sea. This is in an attempt to both kill the donkey by

drowning it, and soaking its skin to be made into a drum. After throwing him into the water, the

drummer notices movement in the water and sees that a monstrous whale has swallowed his

donkey. Frustrated, he leaves,

Pinocchio awakes inside the belly of the whale, excited that he is no longer a donkey, but

rather disappointed to have been eaten. He worries about what has happened to Geppetto and

Candlewick. He then hear Geppetto in the distance and the two finally reunite inside the whale.

Geppetto tells the tale of his journey to find Pinocchio and how he ultimately ended up in the

whale. They hear coughing in the distance as it turns out that Candlewick was also swallowed by

the whale when attempting to escape from the farm. He tells of how mistreated and abused he

was, resulting in him fleeing and jumping into the sea, only to be swallowed by the whale.

Candlewick tells Pinocchio to not let the world change who he is before tragically dying.

Geppetto and Pinocchio devise a plan to escape the whale to not meet the same fate.

After setting a fire inside the whale to allow them to swim out of its mouth, Pinocchio

and Geppetto wash up on the shore. Pinocchio is excited to have escaped, but the journey has not

been as easy on Geppetto. Geppetto is too ill and passes from age and illness. Pinocchio calls for

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the Blue Fairy and she appears to Pinocchio. Pinocchio tells her that he doesn’t care if he gets to

become a real boy as long as he can have his father back. The Blue Fairy realizes that Pinocchio

has finally learned to be selfless, and grants both wishes, returning Geppetto to life, and turning

Pinocchio into a real boy.

*Only details props that are entirely necessary for the production to function. This does not include all props used in the premiere.

Figure 4.1 Summary of Scenes in Aaron Hunt’s Pinocchio 19

Act / Scene Characters Location Required Props / Set Pieces*

ACT I Scene 1

Geppetto, Pinocchio, Mr. Cricket

Geppetto’s Home Axe, Logs, Hammer, Furnace, Schoolbook

Scene 2 Pinocchio, Mangiafuoco, Fox, Cat, 3 Marionettes (Harlequinn, Signora, Punch)

A road on the way to Pinocchio’s school

Schoolbook, Bag of Coins (2), Proper props to imply a play-within-a-play

Scene 3 Cat, Pinocchio, Fox, The Ghost of Mr. Cricket, Policeman

An alleyway 5 Coins, Police Whistle

Scene 4 Pinocchio, The Ghost of Mr. Cricket, The Blue Fairy

A jail Bag of Coins

ACT II Scene 1

Pinocchio, Candlewick A Schoolhouse Sign for Toyland Circus

Scene 2 Pinocchio, Candlewick, The Ringmaster

The Toyland Circus Candy, Props for donkey transformation

Scene 3 Pinocchio (as a donkey), The Ringmaster, Girls in the audience, The Village Drummer

The Toyland Circus (during a show)

Props for tricks, seats for audience, rope, large stone

Scene 4 Pinocchio, Geppetto, Candlewick

The Belly of a Whale general wreckage

Scene 5 Pinocchio, Geppetto, The Blue Fairy

Shore of the Village n/a


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Telling a Story through Music

One might argue that one of the most important aspect of composing an opera is ensuring

that the story is appropriately portrayed through a musical means. This results in a different form

of storytelling wherein the music must not only portrays the dramatic arc of the text in an

appropriate way, but also must be clearly understandable by the audience. This style of musical

setting can be reduced to three major components: text setting, the proper use of recitative, and

consistent usage of thematic materials.

It is important for the composer to take pedagogic aspects of the human voice into

account when approaching the setting of the libretto. Musical contour, phrasing, and rhythm are

not separable from text and diction. Ensuring that all of these interact properly is a requirement

for good text setting. This is why a composer should be incredibly comfortable, and debatably

completely fluent, in a language before setting any portion of an opera in it. The rhythmic

accents involved in the natural speech patterns of a language become incredibly prevalent, as

placing strange amounts of musical importance on unstressed syllables or dramatically

unimportant words can begin to drive a divide between the singer and the musicality of the

phrase and as a direct result, the audience and the music as well. This holds especially true when

composing an opera in english, a language full strange consonant patterns and machine-gun-like

rhythms.

Take for instance, Stravinsky’s The Rake’s Progress, an opera whose text setting is more

of an athletic feat than a musical one. One great (horrible?) example can be seen during Baba’s

Aria in Act II, scene 3 of the opera (Figure 5.1). This appears to be a classic example of musical

concepts taking complete precedence over the text. There are several examples of large pitch

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shifts, implying dramatic importance, on certain words or syllables that have no thematic or

contextual importance. Another strange flaw in the text setting of this aria can be seen in measure

158, where the incorrect amount of syllables (when pronounced in the english language) are

assigned to the word “Vienna” (Figure 5.2). There are additional pedagogic problems that arise

Figure 5.1 Excerpt from “Baba’s Aria” in Stravinsky’s The Rake’s Progress 20

throughout the aria as well, such as passages being athletically difficult in terms of diction

patterns, or the obscenely brief portamento in measures 168-169 that barely gives the singer time

to establish the note, before sliding away from it (Figure 5.3). “Babas Song” which occurs in the

Igor Stravinsky, Auden, W. H., and Kallman, Chester. The Rake's Progress; an Opera 20

in Three Acts. London: Boosey & Hawkes, 1951.

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5.2 Incorrect Number of Syllables in “Vienna” (m. 158) : Excerpt mm. 158-161 21

Figure 5.3 Overly Brief Portamento in mm. 168-16921

Figure 5.4 Babas Song21

Igor Stravinsky, Auden, W. H., and Kallman, Chester. The Rake's Progress; an Opera 21

in Three Acts. London: Boosey & Hawkes, 1951.

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middle of the aria, appears that it might be a much need relief from the strenuous pedagogic

difficulty of aria, but the durations of the text within the music are irregular, continuing the

uneasiness of how the music interacts with the text (Figure 5.4).

It is important to stress how this is not a result of the text being difficult to set, or that it is

objectively un-musical in some way, but rather that the musical setting of the text in unintuitive.

The text itself is quite friendly in a musical sense, even involving logical rhyming structures that

should have been responsible for guiding the musical phrasing in some way. It even calls

Stravinsky’s awareness of the english language, which is not his primary language, into question.

This is an excellent example of what not to do when setting text. There is a large difference

between an opera being significantly difficult because of the sheer nature of the technical

prowess and musicality involved, and an opera being significantly difficult due to negligence of

the pedagogic needs involved in writing for voice.

Recitative and Sprechstimme: Developing Dialogue through Music

When beginning the composing of an opera, the most unnatural part often comes in the

form of setting recitative. Recitative is defined as “a type of vocal writing, normally for a single

voice, with the intent of mimicking dramatic speech in song. In practice its nature has varied

widely by era, nationality, origin and context.” This involves using appropriate rhythms and 22

inflections, which are created through the organization of pitch, to make the sung dialogue

resemble the same patterns found in standard speech. While this does not always result in an

exact replica (which is highly unlikely considering how rare it is for most people to sing every

“Recitative” Oxford Music Online. www.oxfordmusiconline.com/grovemusic/view/22

10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000023019. Accessed February 4, 2020.

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word they speak) these passages are adjusted to the closest logical means present in musical

notation. The most important aspect when writing recitative is to avoid passages of sung

dialogue that sound unnatural. Since recitative is often the primary driving force in moving the

plot forward, while more musically arranged sections (such as arias or ensembles) often

represent more introspective moments that are “frozen in time,” the recitative must be clearly

understood by the audience. As each language has unique rhythmic patterns, inflections, stress

patterns, and cadences the recitative in opera will sound drastically different in each language.

There are three main types of recitative. Most of the differentiation between these types

has more to do with how the singers rhythmically interact with the orchestra or accompanying

instrument(s) than the patterns or organization of the recitative itself. Recitativo secco or “dry

recitative” (also simply known as secco recitative) was one of the most popular types of

recitative in early opera. This involves the singer only being accompanied with what is referred

to as a continuo accompaniment, usually consisting of a harpsichord or piano. In this version of 23

recitative, the singer will often make minor adjustments to the exact rhythm and infection, but

not the pitch, to make the recitative sound as speech-like as possible. Examples of secco

recitative can be commonly found in the operas of Mozart, Handel, Rossini. Recitativo

accompagnato maintains the adjusted “speech-patterns” of secco recitative, although the

adjustments are often smaller, but in this form of recitative the accompaniment involves the

orchestra rather than a harpsichord or piano. Operas that solely employ recitativo accompagnato

are rare as is is usually used in tandem with recitativo secco or recitativo arioso. While these

“What is Recitative?” Opera Sense. www.operasense.com/recitative/ Accessed 23

February 4, 2020.

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http://www.operasense.com/recitative/

operas also use other forms of recitative, recitativo accompagnato can be found in the operas of

Verdi and Donizetti. Recitativo arioso maintains the orchestral accompaniment of recitativo

accompagnato, however in this type of recitative, the rhythmic patterns are to be strictly adhered

to, as the presence of continuous music underneath the recitative does not allow for rhythmic

variances. Examples of recitaivo arioso can be found in the operas of Puccini, Wagner, and

Menotti.

Another form of expressing speech-like dialogue arose in the 20th century in the form of

sprechstimme. Also known as sprechgesang, sprechstimme involves a direct blending of speech

and singing. Likely the most famous uses of sprechstimme can be found in the operas of Alban

Berg.

Sprechstimme was used by Berg in Wozzeck (1925) and Lulu (1937), the former work introducing a new shade, ‘half sung’ between Sprechstimme and song. In a prefatory note to Wozzeck Berg insisted that passages in Sprechstimme ‘are not to be sung’ but must be delivered as ‘a spoken melody’ (Sprechmelodie): ‘in singing the performer stays on the note without change; in speaking he strikes the note but leaves it immediately by rising or falling in pitch’. 24

In Berg’s operas, three primary forms of sprechstimme/sprechgesang are used. The first method

comes in the form of unmetered speech. This can occur from written speech starting at a certain

point, with little further instruction, or can have a defined space (with a starting and ending

point) to occur in. The second, as seen in figure 6.1, comes in the form of rhythmically fixed

speech. This results in non-pitch-specific speech that is held to specific points of rhythmic

attacks and held for specific durations. The third method, seen in figure 6.2, is often referred to

“Sprechgesang” Oxford Music Online. www.oxfordmusiconline.com/grovemusic/24

view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026465#omo-9781561592630-e-0000026465

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http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026465#omo-9781561592630-e-0000026465

as being half-sung. This last method, the one most directly associated with sprechstimme/

sprechgesang by most, the singer must sing the pitch, but allow the natural contours of the

spoken language to guide the directions and placements of pitch. This results in pitches often 25

being unstable or “sliding” towards other pitches in order to mimic said speech patterns.

Figure 6.1 Rhythmically Fixed Speech in Berg’s Wozzeck, Act 2, scene 4, m. 514. 26

In my adaptation of Pinocchio, I use this half-sung form of sprechstimme throughout the

work (Figure 6.3). Instead of using the more traditional notation on sprechstimme, a note with an

“x” through the stem, I have opted to use a more modern notational method of making the note

head itself an “x.” As the work was commissioned for undergraduate voice majors, most of the

use of sprechstimme is fairly basic from a pedagogic perspective. Long continuous strands of

sprechstimme can be strenuous for younger singers as it can make it difficult to maintain an

Royal Opera House “How does Berg use Sprechgesang in Wozzeck?” (The Royal 25

Opera) Youtube. www.youtube.com/watch?v=kXBVu1s-5E0&t=2s Accessed Feb 4, 2020.

Berg, Alban, and Georg Büchner. Wozzeck. London: J. Calder, 1990.26

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http://www.youtube.com/watch?v=kXBVu1s-5E0&t=2s

Figure 6.2 Half-singing in Berg’s Lulu, Act 1, scene 2, m. 671. 27

Figure 6.3 Sprechstimme in Pinocchio, Act I, scene 2, mm. 477-479. 28

Jarman, Douglas. Alban Berg, Lulu. Cambridge [England] ;: Cambridge University 27

Press, 1991.


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appropriate sense of pitch throughout an excerpt. Most of the sprechstimme in Pinocchio occurs

at the very beginning or end of longer phrases, and in small isolated moments. This methodology

is in an attempt to make the pacing and pitch organization of the sung material to sound more

like speech.

Setting a Consistent Musical Tone

A composer must be aware of how they are characterizing each role in the opera

musically. This is the point where a composer’s musical training is truly tested. It is all too easy

for a composer to imagine a plethora of excellent musical ideas and then combine them into

something that resembles an opera, but solely focusing on the music can easily result in an opera

that, while musically interesting, is not dramatically engaging, and which will likely lose the

interest of the audience after any significant duration of time. The composer must ensure that the

music is not only engaging, but that it serves a theatric purpose as well. The orchestra, or

whatever accompanying instrumentation is being used, must almost be seen as an additional

character in its own right.

This can be achieved through a large variety of methods. Composers like Richard Wagner

employed leitmotivs that were tied to certain characters, places, groups, or concepts in order to

create a sense of continuity throughout the work. Georges Bizet would employ a somewhat more

subtle version of this, using much more fragmented themes, such as the “fate” theme in Carmen.

In his 1903 opera, Elektra, Richard Strauss would leitmotif-esque figures, but would also use

chords or chord progressions, including the famous Elektra polychord, to represent characters.

New York City based composer Nico Muhly “twins” roles in the opera to instruments in the

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orchestra, allowing that instrument to have an, although be it subtle, effect on how the audience

can experience the character’s feelings and motivations at any given point in the opera. 29

The main aspect of musical characterization that a composer must consider is how they

are going to convince the audience of what a character is or is not feeling through musical

means. This can involve “pavlov-ing” them through forced association with thematic material, or

it can be employed by creating a dramatic juxtaposition between the music and the text, letting

the audience “feel” the disconnect between the words that they are stating and the intention

behind them. In my adaptation of Pinocchio, of which I am both the composer and the librettist, I

try to employ both of these methods. While I don’t directly apply a particular leitmotif to any

character other than Pinocchio, I do apply it to certain concepts, resulting in the themes spanning

multiple characters, such as the “morality theme” spanning both Geppetto and Mr. Cricket, or the

“mischief theme” being applied to both Pinocchio and Candlewick.

Considerations for the Rehearsals of an Opera Premiere

Composing an opera is a fairly unique task in comparison to other genres. The pacing and

organization of rehearsals results in a very different process than composing a symphony or

chamber work. One primary reason for this is due to the logistics of the rehearsal process for

such a large scale work. Early rehearsals often consists of a pianist, who typically doubles as a

vocal or repertoire coach, and the singers. For a rehearsal with many singers the music director

and/or chorus master (provided the opera has chorus) may also be present to conduct. The

content of these rehearsals can range from learning elements of the music, to instruction on

Metropolitan Opera “Nico Muhly on Marnie” Filmed November 12, 2018. Youtube. 29

www.youtube.com/watch?v=y81O7Lv-z-A&t=73s Accessed February 6, 2020.

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http://www.youtube.com/watch?v=y81O7Lv-z-A&t=73s

diction preferences, to musical or dramatic characterization, and communicating the specific

artistic desires of the music director. While learning music during a rehearsal is rare in a

professional setting, as singers are expected to have an in-depth memorization of the role in

advance, it is somewhat more common in an academic setting, where singers will often not have

a knowledge of the specific role they are singing/assigned far in advance. Considering that 30

Pinocchio was commissioned for an academic program, and specifically an undergraduate

program, I will be focusing on more academic based rehearsal needs, timelines, etc.

One of the largest constraints of working with a university program for a premiere has to

do with the specificity of available singers and resources. In a professional setting one might be

writing for a particular voice, but will likely be writing many of the roles with a particular type

of singer in mind, and finding more appropriate selections after the work is completed or near

completion. This frees the composer to write the part as they wish, while staying within the

limitations of a realistic voice-type, and then find the appropriate vocalists after a decent amount

of the work has been conceptualized. While an opera house may have specific requests for a few

of the roles, it is unlikely that they will have an entire cast in mind. In a university setting

however, this is not a possibility, as only the current student body will be available to fill roles.

Furthermore, you can only be aware of a portion of the singers that you will have, considering

that there will be an outgoing class of those graduating from the previous year, and a new group

of incoming freshmen.

Vanessa Cariddi. “Life as an Opera Singer” Huffpost. www.huffpost.com/entry/life-as-30

an-opera-singer_b_77613 Accessed February 6, 2020.

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http://www.huffpost.com/entry/life-as-an-opera-singer_b_77613

To combat this unknown factor, I took advantage of my knowledge of what students

would be returning from the previous year and made decisions when planning the roles for the

production. While there were a few unknown factors concerning incoming students, I tried to

avoid placing any incoming freshman in roles. There was one exception, as I planned a

somewhat large tenor role for an incoming freshman. This was only after receiving a

recommendation from a professor present during his audition, and after taking into consideration

that he would be the only tenor present in the undergraduate voice program. The major concern

that would arise came in the form of the timeline for composing the work. I could plan large

portions of the work and design dramatic arcs, but could not make a majority of the plans for the

specific needs (ranges, tessituras, diction skills, etc.) for each role until I had a chance to hear

each singer audition individually.

Another concern comes in the amount of available time for rehearsals with orchestra.

Luckily, the program was able to schedule several rehearsals with the orchestra in advance, with

a sitzprobe (a rehearsal with the full cast and orchestra, but without staging) that was distanced

from the premiere. In many cases, rehearsals with orchestra and cast are not possible until a week

or two, and occasionally even a couple of days before the performance(s). The extra rehearsal 31

time allows for an amount of experimentation that might not typically be available due to

concerns involving the amount of time in rehearsals with the full ensemble.

David Bruce Composer. “How to Write an Opera” www.youtube.com/watch?31

v=MmHCYRW8R-4

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http://www.youtube.com/watch?v=MmHCYRW8R-4

Opera as a Living Work

Another large difference in the creation of opera comes in the form of how it is

artistically handled after its initial composition. When rehearsing a symphonic or chamber work,

the composer will often send out the music to performers well in advance, and then reconvene

with the ensemble a short time before the performance in order to make small adjustments.

Opera is much more collaborative however. This is not only due to the interaction with artistic

directors, theatrical designers, and vocal coaches, but also due to the more interpretive nature of

all staged works, including musical theatre, ballet, straight theatre, and opera.

One major reason for this comes from how unique writing for the voice can be. It is far

easier for a composer to predict what a cello part will sound like when composing than to

understand every individualistic timbre of a singer’s voice. During Pinocchio’s earlier rehearsals,

I quickly noticed better options for what I wanted from the vocal writing. In some cases, this was

the result of a singer(s) not having the particular sound that I had conceptualized, and in response

I changed the parts to better fit the characteristics of their voices. In other cases it involved taking

advantage of unique vocal skills discovered throughout rehearsals. During an early rehearsal I

noticed that the soprano who played the role “Fox” had a particularly high tessitura, so I decided

to capitalize on that, ensuring that her duet with “Cat” allowed her to showcase this range.

Interpretation also plays a significant role in opera rehearsals. Due to the theatric nature

of opera alone, there are already a mass of possibilities that can be present within a single line of

recitative. This holds even more true in lines of sprechstimme, where one’s individual

interpretation of how they would speak a line has a drastic effect on its outcome. Some moments

in the production, especially ensembles get a little more strict in the nature of their interpretation.

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The more moving parts that begin to become involved, the harder it becomes to reign it all in for

an artistically cohesive interpretation.

This concept of individualistic interpretation was highly important to me in the

compositional process of Pinocchio, and has been in many of the other works that I have

composed so far. Pulitzer Prize winning composer Caroline Shaw stated in an interview with

New Music USA styles of composition can be viewed as, “baking versus cooking on the stove”

in an effort to explain how open to interpretation her music is. Baking is strict and incredibly 32

prescriptive, while cooking allows for a level of “personal taste” to be applied. Yes, there is a

recipe, but much of the process is determined in the moment. As a composer this resonated with

me and has become a part of how I view composition. A large goal of mine in Pinocchio was to

allow for an even higher level of interpretation than I had previously allowed in my music. There

are some strict “baking” moments throughout the piece, such as the Fox and Cat duet in Act I,

scene 3, where allowing for too much interpretation would disrupt the interaction of the musical

phrasing too noticeably. The more “recitative-esque” sections of the work contain very little 33

instructions beyond the minimal notation needed to inform the singers of the approximate notes

and rhythms. In some of these passages, while notated, the specific pitches were not quite that

important to me, the notation serving to only prescribe the shape of the line. It was much more

important to me that it theatrically feel like dialogue that happened to be sung, than to have any

prescriptive musical idea attached to it.

New Music USA “Caroline Shaw: Yes, a Composer, but Perhaps not a Baker!” 32

Youtube. Filmed March 2, 2015. www.youtube.com/watch?v=acsu7Dk04xE


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http://www.youtube.com/watch?v=acsu7Dk04xE

Finally, as stated above, the collaborative nature of opera is what truly instills opera as a

“living work.” The way that musical and artistic directors, stage, hair, and costume designers,

and individual performers decide to interpret the work means that an opera can take drastically

different shapes between performances. Whether this is due to “cuts,” a term for the act of

removing portions of music or occasionally even entire scenes from a production, or the way that

an artistic director decides to stage a scene, there are many artistic “paths” that a production can

take. For example, during the rehearsal process for for the premiere, while there was a lot of

back-and-forth, there were scenes that Professor Lorraine DiSimone’s (artistic director)

interpretation consisted of staging that, while interpretively valid, were quite far from what I had

originally imagined. In some cases, this resulted in large changes or compromising for the sake

of finding a middle-ground between our thoughts on the production. In others I decided to “lean

in” so to speak as, while it did not match my original dramatic intent, I actually ended up

preferring the theatric nature of her interpretation.

Conclusion

In conclusion, the creation of Pinocchio: An Opera in Two Acts was a multifaceted

process that was highly interdisciplinary in nature. Composing the work required developing

skill sets outside of only musical means. An in-depth knowledge of theatre, literature, and

language played a large role in the development of the work. On top of this, an understanding of

vocal technique was pivotal in the production of a work that is centered on storytelling through

singing. Through the development of these concepts I was able to create an effective

interpretation of Carlo Collodi’s The Adventures of Pinocchio for the opera medium.

!34

REFERENCES

35

REFERENCES

Berg, Alban, and Georg Büchner. Wozzeck. London: J. Calder, 1990.

Berger, Lee. “Carlisle Floyd, Of Mice and Men Interview” Filmed February 2013. Youtube Video. www.youtube.com/watch?v=1p5HNM6DPsw

Butler, Francelia. Children’s Literature, Yale University Press, 1972.

Cariddi, Vanessa. “Life as an Opera Singer” Huffpost. www.huffpost.com/entry/life-as-an-opera- singer_b_77613 Accessed February 6, 2020.

Collodi, Carlo., and Carsey, Alice. Pinocchio : The Tale of a Puppet. Minneapolis: Lerner Publishing Group, 2015.

David Bruce “How to Write an Opera” Filmed November 2018. Youtube Video. www.youtube.com/watch?v=MmHCYRW8R-4

Davies, John. “Pinocchio” Opera Tales. accessed August 26, 2019. www.operatales.com/ pinocchio.shtml

Dove, Jonathan. “The Adventures of Pinocchio” Jonathan Dove, accessed August 26, 2019. www.jonathandove.com/the-adventures-of-pinocchio.html

Else, Jane E., Jason Ellis, and Elizabeth Orme. "Art Expertise Modulates the Emotional Response to Modern Art, Especially Abstract: An ERP Investigation." Frontiers in Human Neuroscience 9, no. SEPTEMBER (2015): 525.

Higgins, Kathleen Marie. The Music between Us : Is Music a Universal Language? Chicago ; London: University of Chicago Press, 2012.

Jarman, Douglas. Alban Berg, Lulu. Cambridge [England] ;: Cambridge University Press, 1991.

Metropolitan Opera “Nico Muhly on Marnie” Filmed November 12, 2018. Youtube. www.youtube.com/watch?v=y81O7Lv-z-A&t=73s Accessed February 6, 2020.

New Music USA “Caroline Shaw: Yes, a Composer, but Perhaps not a Baker!” Youtube. Filmed March 2, 2015. www.youtube.com/watch?v=acsu7Dk04xE No Strings Attached: The Making of Pinocchio, Pinocchio DVD, Walt Disney Productions, 2009.

Osbourne, Morgan McConathy, Russell Van Dyke, Lindsay, George Le Roy, and Howell, Alfred. Music, the Universal Language. New York, Chicago;: Silver Burdett Company, 1941.

"36

http://www.huffpost.com/entry/life-as-an-opera-

Osnos, Evan “How the Composer George Benjamin Finally Found His Voice” The New Yorker www.newyorker.com/magazine/2018/09/17/how-the-composer-george-benjamin-finally- found-his-voice Accessed September 28, 2019.

“Recitative” Oxford Music Online. www.oxfordmusiconline.com/grovemusic/view/10.1093/ gmo/9781561592630.001.0001/omo-9781561592630-e-0000023019. Accessed February 4, 2020.

Royal Opera House “How does Berg use Sprechgesang in Wozzeck?” (The Royal Opera) Youtube. www.youtube.com/watch?v=kXBVu1s-5E0&t=2s Accessed Feb 4, 2020.

Smith, Brian. “Dramatic Structure: Four Reasons Why It’s Important” Monument Scripts http:// monumentscripts.com/dramatic-structure-four-reasons-important/ Accessed September 28, 2019.

“Sprechgesang” Oxford Music Online. www.oxfordmusiconline.com/grovemusic/view/10.1093/ gmo/9781561592630.001.0001/omo-9781561592630-e-0000026465#o mo-97815615926 30-e-0000026465 Stravinsky, Igor, Auden, W. H., and Kallman, Chester. The Rake's Progress; an Opera in Three Acts. London: Boosey & Hawkes, 1951.

“The Adventures of Pinocchio,” Fondazione Nazionale Carlo Collodi, accessed August 26, 2019. www.pinocchio.it/fondazionecollodi/en/the-adventures-of-pinocchio/

Trahndorff, Carl Friedrich Eusebius. Ästhetik oder Lehre von Weltanschauung und Kunst (Berlin, Germany: Maurer: 1827)

“What is Recitative?” Opera Sense. www.operasense.com/recitative/ Accessed February 4, 2020.

"37

http://www.oxfordmusiconline.com/grovemusic/view/10.1093/

http://www.oxfordmusiconline.com/grovemusic/view/10.1093/

APPENDIX

!38

&?

&

?

44

44

44

44

..

..

..

..Pinocchio

Geppetto

Piano

∑∑∑

œ. œ. œ. œ.

q = 100

∑∑∑

œ. œ. œ. œ.

∑∑∑

œ. œ. œ. œ. œ. œ. œ. œ.

∑∑∑

œ. œ. œ. œ. œ. œ. œ. œ.

&

?

..

..Pno.

5 ∑ ?

œ. œ. œ. œ. œ. œ. œ. œ.

‰ Jœb ‰ Jœ ‰ Jœ ‰ jœœ

œ. œ. œ. œ. œ. œ. œ. œ.

œœn œœb Œ Ó

œ. œ. œ. œ. œ. œ. œ. œ.

‰ Jœb ‰ Jœ ‰ Jœ ‰ jœœ

œ. œ. œ. œ. œ. œ. œ. œ.

?

?

?

..

..

..Gep.

Pno.

9 ∑9 ‰ œœb œœbn œœ# œœ œœb ‰ œœ. œœ. œœ.

œ. œ. œ. œ. œ. œ. œ. œ.

∑

.œ Jœb .œ œ œ#

œœ. œ. œ. œ. œ. œ. œ. œ.

Ó ‰ Rœ Rœ Jœ JœbIt's a lone ly

wn

œ. œ. œ. œ. œ. œ. œ. œ.

-

PinocchioAaron L. Hunt

Copyright 2019 © AaronHunt Music

Score

Act I, Scene I

39

?

?

?

45

45

45

44

44

44

Gep.

Pno.

12 .œ Jœ ˙#job, you know?

12 ∑

œ. œ. œ. œ. œ. œ. œ. œ.

Œ jœ# jœ# ˙#Chop ping wood!

∑

œ. œ. œ. œ. œ. œ. œ. œ.

∑

‰ jœœb ‰ jœœ ‰ jœœ ‰ jœœ œœn œœb

œ. œ. œ. œ. œ. œ. œ. œ. œ# . œ# .

-

?

?

?

44

44

44

43

43

43

44

44

44

Gep.

Pno.

15 ‰ œ œ Rœ Rœ œ Jœ# œ#Real ly take it's toll, you know

15 œ Œ Ó

œN . œ. œ. œ. œ. œ. œ. œ.

≈ Rœ œ œ Rœ Rœ Jœ œ# œ# œ Jœn3

It real ly takes it's toll you should

∑

œ. œ. œ. œ. œ. œ. œ. œ.

œ# Œ Œknow.

Œ ≈ œœ œœb œœ œœ œœ œœ œœ

œ. œ. œ. œ. œ. œ.

- -

?

?

?

44

44

44

Gep.

Pno.

18 ‰ Jœ .Jœ rœ# œ œ œIt's quite the lone ly job.

18

Jœœ ‰ Œ Ó

œ. œ. œ. œ. œ. œ. œ. œ.

≈ Rœ Rœ Rœ œ œ œ# œ œIt's quite a lone ly job, chop ping

∑

œ. œ. œ. œ. œ. œ. œ. œ.

œ# rœ rœ jœ jœ Jœ œwood, be ing a wood car ver!

∑

œ. œ. œ. œ. œ. œ. œ. œ.

- - - - -

2 Pinocchio

40

?

?

?

43

43

43

42

42

42

43

43

43

Gep.

Pno.

21

Jœ ‰ jœ# œ œ jœ jœ Jœ œb3

Gep pet to the wood car ver!

21 ∑

œ. œ. œ. œ. œ. œ. œ. œ.

.˙

∑ &

œ. œœ œœb œœ œœ œœ œœ œœ œœ œœ œœ œœ#

Jœ ‰ Œ

œœœ# œœ œœ# œœ# œœ# œœ œœn œœn# œœb œœ œœ œœ#n3 3

3 3

œœ Œ

rit.

- - -

?

&

?

43

43

43

44

44

44

Gep.

Pno.

24 ∑24

œœœn . œœœ. ‰ œœœ œœ# œœœ œœœœœ. œœ. ‰ œ œ œœœ œœœ

a tempo Œ Rœ Rœ Jœ .œb JœHere's a good piece, right

œœœ# œ.Œ Ó

œœ## œ. Œ Ó

A little slower (q = 88) œ# Œ Rœ Rœ Jœ œ œhere! It would be per fect

‰ jœœœ## œœœbn œ Ó

‰ Jœ œœ#b œœœbb Ó

-

?

&

?

Gep.

Pno.

27

Jœ Rœ Rœ œ œ ˙#for a tab le leg!

27 Ó . ‰ œœ œœbÓ Œ ‰ jœ.

-

3Pinocchio

41

&?

&

?

Pin.

Gep.

Pno.

28 ∑

∑28 jœœ ‰ Œ Ó

œ. œ. œ. œ. œ. œ. œ. œ.

∑

‰ Rœ Rœ œ Jœ.œ#

Just a chop right here!

œœ# .Œ Œ œ œb œ3

œœ.Œ Œ œœ# œœn œœbb œœnn œœb œœ#n

3 3

‰ jœ# jœ# œ ‰ Jœ Jœ Jœ3

No! No! No! Please do not

∑

jœ#

Jœœœb# ‰ Œ Ó

(as a log)

&?

&

?

Pin.

Gep.

Pno.

31

Jœ# Jœ œ Œ Œchop me up!

Ó ‰ J¿ ŒAh!

31 Ó Œ jœ# ‰

Ó Œ jœœ## ‰

∑œ# œ œ#U Œ J¿# J¿ J¿3

Talk ing wood! I must be

∑

∑

∑¿# ¿ j¿# Œ Œ R¿b R¿ R¿ R¿

3

go ing mad! Too much time a

∑

∑

- - -

&

?

&

?

Pin.

Gep.

Pno.

34 ∑

J¿ ‰ R¿ R¿b j¿ Œ Œlone in the woods.

34 Ó œ œ# œ œ œ œ œ. jœ# œ3 3

˙˙# Œ œ. œ.

‰ rœ# rœ jœ# ‰ rœ# rœ rœ rœ œ œn jœn3

No! No! No! I don't want to be come a

∑jœœ## ‰ Œ jœ# - jœ- œ œn jœ3

Jœ# ‰ Œ Ó

-

4 Pinocchio

42

&?

&

?

Pin.

Gep.

Pno.

36 œb œ# jœ# Œ jœ rœ rœ rœ rœ jœ3

ta ble leg! No, not a ta ble leg∑36 œb œ# jœ# Œ J

œœ# - œœ- œœ- Jœœ-

3

∑

jœ rœ# rœ œ# œ# Œbut a boy! ∑

Jœœ Œ . ‰ œœn œœ œœ

Ó . œœ

∑‰ jœ ˙ œ

A real boy?

jœœ ‰ Œ Œ ‰ jœœjœœ ‰ Œ Ó

- -

&?

&

?

43

43

43

43

44

44

44

44

Pin.

Gep.

Pno.

39 Œ jœ# jœ œ#Uœ#

Yes, a real boy!

∑39 œœ œœ Œ Œ ‰ jœœ

∑

short

∑∑

œœ œœ œœ œœ œœ œœU

Ó ‰ JœU

rit.

∑∑

jœœœœ œœœœjœœœœ


ww

q = 72

∑Ó . ‰ jœ

A

jœœœœ œœœœjœœœœ œœœœ œœœœ

œœ œœ- œœ- œœ-

&?

&

?

Pin.

Gep.

Pno.

43 Ó . jœ jœYes a˙ ˙

real boy.

43 jœœœœ œœœœjœœœœ


ww

œ# œ œ œ ˙real boy.

Ó . œ œA

jœœœœ œœœœjœœœœ œœœœ œœœ


Ó ‰ jœ œYes, I˙ ˙

real boy!



ww

Rœ Rœ Rœ Rœ .˙want to be a real

∑



5Pinocchio

43

&?

&

?

Pin.

Gep.

Pno.

47

œ Œ Óboy!

‰ jœ jœ jœ .œ jœA son to call my


jœœœœ œœœœjœœœœœ

œœ- œœ- œœ- œœ-

‰ Jœ Jœ Jœ œ œMake me a real

.˙ Œown!jœœœœœ œœœœœ

jœœœœ œœœ œœœœœ œ

œœ- œœ- œœ- œœ-

.˙ Œboy!

‰ jœ jœ jœ œ œ œ Jœ Jœ3

A son to fin al ly call my


jœœœœ œœœœjœœœœœ

œœ- œœ-œœ-

œœ-

- -

&?

&

?

Pin.

Gep.

Pno.

50 ‰ Jœ Jœ Jœ œ œMake me a real boy!

˙ ‰ Jœ Jœ Jœown! To call my

50 jœœœœœ œœœœœjœœœœ œœœ œœœœœœ œ

ww-

‰ Jœ Jœ Jœ œ œMake me a real boy!

˙ Œ jœ jœown! Yes a

jœœœœœ œœœœœjœœœœ


..œœ jœœjœœ

..œœ

‰ Jœ Jœ Jœ œ œMake me a real boy!

œ ˙ ‰ jœreal boy! a


œœ œœ- œœ- œœ-&?

&

?

42

42

42

42

43

43

43

43

44

44

44

Pin.

Gep.

Pno.

53 ‰ Jœ œ ˙A real boy!

œ œ ˙ Jœ Jœwood en boy! Yes a



ww

‰ Jœ œ ˙A real boy!œ ˙

Jœ Jœreal boy! Yes a


œœ œœ-œœ- œœ-

∑.œ# Jœ

wood en

∑

∑

∑

œ# Œ rœ Rœ Jœboy! With a chop

‰ jœœ œœ œœ œœ œœ∑

accel.

- -

6 Pinocchio

44

?

&

?

44

44

44

Gep.

Pno.

57 Jœ Rœ Rœ Jœ Jœ Jœ> ‰ rœ rœ rœ rœhere and a chop there! And! (may be not a

57

œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ ‰ ‰ œœ## ‰ jœœ Œ

Brisk! q = 120 jœ jœ ‰ rœ# Rœ Rœ# Rœ Rœ Rœ# ‰ Jœ>chop there) if you want to be a "real"

œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ‰ ≈ Rœ# œ œ# œ œ# œ œn œ# jœœ ‰

-

?

&

?

43

43

43

Gep.

Pno.

59

Jœ# ‰ rœ# Rœ Jœ Jœ Rœ Rœ Jœ Jœboy! With a chop here and a chop there

59

œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ‰ œ# œ# jœ Ó

‰ Rœ Rœ Jœ Jœ Rœ Rœ Jœ Jœ Jœand a chop there! and a chop there, and!

œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ∑

?

&

?

43

43

43

44

44

44

42

42

42

Gep.

Pno.

61 Œ jœ# ‰ ŒDone!

61 ∑

Œ Œ jœ#jœ# ‰

Œ œ œ Rœ Rœ Jœ Jœ ‰ Rœ RœMay be not a real boy But it's

Ó . ‰ œ œ

wwwwgggggg

q = 72 Jœ Jœ œ ‰ jœ œ œclose e nough. A wood en

.œ œ œ œ œ ˙

˙̇̇gggg ˙˙˙̇

- - -

7Pinocchio

45

&?

&

?

42

42

42

42

44

44

44

44

Pin.

Gep.

Pno.

64 ∑

˙boy!

64 ∑

∑

Ó . Jœ jœWhat's my

Jœ ‰ Œ Ó

‰ œœ œœ œœ .œ jœ

jœ œ jœ jœ œ jœ

˙ ‰ jœ jœ jœname? What is my

‰ Jœ# Jœ Jœ Œ ¿Your name is ... um

˙ Ójœœ# œœ

jœœ œœ œœ

&?

&

?

Pin.

Gep.

Pno.

67 ˙ ‰ jœ jœ jœname? What is my

‰ Jœ# Jœ Jœ ˙Your name should be..

67 Ó ‰ œ œ œjœœ# œœ

jœœjœœœ

œœœjœœœ

˙# Óname?

‰ jœ jœ jœ œ# œ œ œYour name will be

˙# Ó

w

rit. / freely ∑

.œ# " jœ .œ JœPi noc chi

∑

œ Ó .

f- - -

&?

&

?

Pin.

Gep.

Pno.

70 Ó Œ ‰ Jœ#Pi

wo!

70 jœœœœ## œœœœ œ œ#jœœœœ# œœœœ œ œJœ Jœ

Jœœœ# œœœ œ œ# J

œœœ œœœ œ œJœœ J

œœ

f

f

f

a tempo .œ Jœ ˙noc chi o!

Ó ‰ Rœ Rœ Jœ Rœ RœYes your name is Pijœœœ## œœœ œ œ# œœ œœ# œœ œœ œœJœ œ œ Jœ


œœœ œœœ JœœœJ

œœ

- - -

-

8 Pinocchio

46

&?

&

?

Pin.

Gep.

Pno.

72 Ó ‰ jœ jœ jœI like this.œ Jœ# ˙

noc chi o!

72 jœœœœ## œœœœ œ œ#jœœœœœ œœœœœ œ œJœ Jœ



œœ

˙# Œ . jœname! Pi

Œ Jœ Jœ# .œ JœnYes my son! Pijœœœœ### œœœœ œ œ# œœ œœ# œœ œœ œœJœ œ œ Jœ



œœ

.œ Jœ ˙noc chi o!.œ Jœ ˙noc chi o!jœœœ## œœœ

jœœœjœœœ œœœ

jœœœ

Jœœœ# œœœ J

œœœ Jœœœ œœœ J

œœœ

- - - - -

- - -

&?

&

?

Pin.

Gep.

Pno.

75 ww

75 jœœœ## œœœjœœœ

jœœœ œœœjœœœ

ww## æ

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

ww## æ

wwæ

∑

∑jœœ

‰ Œ Ó

jœœ‰ Œ Ó

9Pinocchio

47

&?

&

?

Pinocchio

Geppetto

Piano

78 ∑

∑78 ∑

œ. œœœ# .œ.

œœœ### .œ. œœœ .

œ.œœœ.

Playful q = 90Pinocchio steals Geppetto's hat∑

∑

∑

œ. œœœ# .œ.


œ.œœœ# .

‰ œ̂ ‰ œ# œ œ# jœ ‰Ha! This is mine now

∑

œ. Œ Óœœ. Œ Œ ‰ Jœœœ#

∑

Œ Jœ# Œ Rœ Rœ# Jœ# ‰AH! Give that back!

∑œœœœ### .

Jœœ ‰ ‰ œ œ# œ# œ œ

?

&

?

Gep.

Pno.

82 Œ Rœ Rœ Rœ Rœ# Jœ# ‰ ‰ rœ rœNot a min ute made, and you

82 ∑

œœœœœ## - œœœœœ̂ Œ Ó

œ œ œ jœ jœ Jœb œ œ œ ‰3 3

al rea dy act like a wick ed child!

∑

∑

‰ Jœ.Jœb Rœ œ ‰ Jœ

Not good, my son. Not

∑

∑

- - - -

?

&

?

Gep.

Pno.

85 ˙ Ógood!

85 ∑

œ. œœœ# .œ.


œ.œœœ.

∑

.œ# œ# .œ œ# œ œ œ .œ œ .œ œ .œ œ‹ œ œ œ .œ# œ3 3

œ. œœœ# .œ.


œ.œœœ.

F

10 Pinocchio

48

&

?

&

?

Pin.

Gep.

Pno.

87 ∑

∑87 œœ# . œœ

.œœ## ˘ œœœ# œ œœœ

œ# . œ# œœn . œ# .œn . œn œœ# . œ‹ .

‰ ‰ jœ rœ rœ jœ rœ rœ œ# ‰3

But be ing bad is more fun!

∑

Jœœœœœ### ‰ Œ Œ œb œ œ# œœ##

^3

Jœœœ# ‰ Œ Œ ‰ Jœœ^

Pinocchio kicks Geppetto in the shin Œ ‰ jœ Jœb jœ œ#

Now watch me run!

‰ J¿ Œ ÓOw!

jœœœ##^ ‰ ‰ jœ Jœb jœ œ#

Jœœœ# ^ ‰ Œ Ó

-

&

&

?

Pin.

Pno.

90 .œ ‰ Ó90 œœœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ.

œ Œ Œ œ

∑

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ.œ Œ Œ œ

&

?Pno.

92

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.

œ Œ Œ œ

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ œœœ#.

œœœ.œ Œ Œ œ

11Pinocchio

49

?

&

?

83

83

83

44

44

44

Gep.

Pno.

94 Jœ# ‰ ‰ Jœ Jœ# Jœ Jœ ‰ " Rœ Rœ3

Ha! Now I've got you! Lis ten

94 jœœœ### ‰ Œ Ó

jœœ. ‰ Œ Ó

Geppetto catches Pinocchio

.œ#here!

∑

∑

Jœ ‰ Œ Ó

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ.œ Œ Œ ‰ jœ

A Little Slower q = 86

-

?

&

?

Gep.

Pno.

97 Ó . ‰ Jœ#Pi

97


œ Œ ‰ œ# œ œœ

œ JœN œ ‰ Jœ Jœ# Jœ3

noc chi o You must be

∑

∑

Jœ# Jœ Jœ Rœ Rœ Rœ Rœ Rœ Rœ# Jœ‹ Jœgood and not cause a fuss to be a good boy


- - -

?

&

?

Gep.

Pno.

100 ≈ Rœ Jœ# Rœ œ œ Jœ# œ œ Rœ Rœ JœYou can't go a round just do ing what you like!

100


œ Œ Œ ‰ Jœ

Jœ ‰ Œ .Jœ Rœ .Jœ# RœYou must learn to

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ### . œœœ.œ œ œ œ# œ

- -

12 Pinocchio

50

?

&

?

Gep.

Pno.

102 Jœ Jœ Rœ Rœ Rœ Rœ Jœ Rœ Rœ# Jœ# Jœread and write and go to school like a real boy

102 œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.œ Œ Œ ‰ jœ

Jœ Jœ Jœ Jœ Rœ Rœ Rœ Rœ œ œ# JœWash and sweep and clean up like a real boy!


&

?

&

?

42

42

42

42

Pin.

Gep.

Pno.

104 ∑

œ ≈ Rœ Rœ Rœ .œ Rœ# RœYou must be have, like a

104

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ### .œœœ### .

œ Œ Œ ‰ jœ#

Ó ‰ Jœ Rœ Rœ Rœ RœI want to be a

œ ˙ ‰ Rœ# Rœreal boy! like a

œœœ### . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.

∑

œ œ .˙real boy!

œ .˙real boy!

œœœ### . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.

∑

-

13Pinocchio

51

&

?

&

?

42

42

42

42

44

44

44

44

Pin.

Gep.

Pno.

107

Jœ ‰ rœ# rœ rœ RœSo I'll learn to

Jœ ‰ Œ107 ∑

∑

rit. jœ# jœ jœ jœ œ œ Rœ Rœ# jœ‹ rœ rœread and write and stu dy like a real boy I'll

∑

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ.∑

Even slower q = 80

- -

&

&

?

Pin.

Pno.

109 jœ# rœ rœ rœ rœ rœ rœ jœ Rœ Rœ# œ œdo all my chores and go to school like a real boy

109

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.∑

‰ jœ# œ œ jœ# œ œ# jœ# œ#3 3

I'll ev en start sweep ing right now!

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ.∑

- -

&

?

&

?

Pin.

Gep.

Pno.

111 ∑

∑111

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ..œ# œ# .œ œ# œ œ œ .œ œ .œ œ .œ œ‹ œ œ œ .œ# œ3 3

F

Pinocchio begins sweeping the floors ∑

∑

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.œœ# . œœ. œœ## fl

œœ# . œœ. œœ#n ˘

∑

Œ . Rœ# Rœ ˙Ve ry good!

∑

œœ.œœœ# .

œ.œœœ### .

œ. œœœ .œ.

œœœ.

-

14 Pinocchio

52

?

&

?

Gep.

Pno.

114 ‰ Rœ Rœ Jœ Jœ œ# .œ# ŒNow I must be go ing!

114 ∑

œ. œœœ# .œ.


œ.œœœ.

Œ Jœ jœ œ œ jœ œSome rules be fore I go!

∑

œœœb# œœ Œ Œ ‰ Jœœœ### .

Œ Jœ# Jœ œ# œ œSweep the floor, Clean the

∑

Jœœœœœ#.

‰ Œ ‰ jœœ## Œ

- -

&

?

&

?

Pin.

Gep.

Pno.

117 ∑

œ# œ ≈ œ œ# ˙dish es, Dust the shelves!

117 ∑

‰ jœœ## Ó ≈ œœ œœbb

∑

Œ ≈ R¿ R¿ R¿ R¿ ¿ ¿ R¿ j¿# ‰But one more rule be fore I go!

∑

jœœ ‰ Œ Ó

œ# œ .œ ‰ ÓYes, fa ther?

∑

Ó œœ œœb œœb œœ œœ œœb œœb œœ# œœ œœn#6 3 3

Œ ‰ Jœœ## ˙̇##

- -

-

?

&

?

Gep.

Pno.

120 Œ Jœ# Jœ œ# Jœ# ‰See that wood there?

120 jœœœ# ‰ Œ Ójœœ## ‰ Œ Ó

Geppetto points ata pile of wood ‰ jœ# œ# œn Œ

It's good wood.

∑

∑

15Pinocchio

53

?

&

?

Gep.

Pno.

122 ‰ Jœ R¿ r¿ ‰ ÓDon't touch it!

122 ∑

∑

∑

jœœ# œœ œ œ# œ œ œ œ œJœ Jœ œ Jœœœœ# œœœ œœ

jœœœœœ jœœ

Geppetto Exits ∑

œ# œ# œ œ œ œ œ œ œ œJœ œ Jœ œ œ œjœœ

œœœ# jœœ œœœœœ œœœ#

Pinocchio begins sweeping

∑

jœœ# œœ œ œ# œ œ œ œ œJœ Jœ œ Jœœœœ# œœœ œœ

jœœœœœ jœœ

&

?Pno.

126

œ# œ# œ œ œ œ œ œ œ œJœ œ Jœ œ œ œjœœ

œœœ# jœœ œœœœœ œœœ#

jœœ# œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœœœœ# œœœ œœ

jœœœœœ jœœ

œ# œ‹ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œjœœ

œœœ# jœœ œœœœœ œœœ‹

jœœ## œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœœœœ## œœœ œœ##

jœœœœœ jœœ

&

?Pno.

130 œ# œ‹ œ œ œ œ œ œ œ# œJœ# œ Jœ œ œ œjœœ

œœœ## jœœ## œœœœœ œœœ‹

.œ# œ# .œ œ# œ œ œ .œ œ3

wwww###F

.œ# œ# .œ œ‹ œ œ œ .œ# œ3

˙̇̇˙#ggggg˙̇˙˙##ggggg

16 Pinocchio

54

&

&

&

?

Pinocchio

Mr. Cricket

Piano

133 ∑

∑133 jœœ## œœ# . œœ. Œ Ó

œœœ# . œœœ. .jœ rœ# œ œ œ

∑

∑jœœ## œœ# . œœ. Œ Œ ‰ œœ œœ

‰ jœ œ œ œ# œ œ œb

∑

∑

œœ# . œœ. Œ Ó

‰ jœ .jœ rœ# œ œ jœ ‰

&

&

?

Pin.

Pno.

136 ∑136 jœœ## œœ# . œœ. ‰ œœ œœ œœ. œœ. ‰ œœ œœ

œ œ œ# œ œ œ œ œ

Œ œ œ œ# Jœ œ œ ‰Sweep ing floors is bor ing

œœœ# œœœ Œ Œ ‰ œœ œœ

œœœ#n œœœ Œ Œ ‰ œœœ œœœbb

Œ . jœ œ œ œb œ#3

It's ti r ing work!

œœœ œœœ Œ Œ ‰ œœ œœ

œœœ œœœ Œ Œ ‰ œœœ œœœ###

- - - -

&

&

?

42

42

42

Pin.

Pno.

139 Œ ‰ jœ# rœ rœ rœ rœ jœ ‰I'd bet ter take a nap!

139 œœ# œœ Œ Œ ‰ jœœ# Jœœœ# .

œœœœn## œœœœn Œ Œ ‰ Jœœœœ# .

œ œ jœ jœ# jœ# ‰ jœ rœ rœ jœ3

Be ing a good boy is such hard work,

Ó Jœœœ# . ‰ Œ

Ó Jœœ# . ‰ Œ

≈ rœ œ# ‰ Óyou know?

Jœœœ# .

‰ œ# œ œ œ œ œ

jœœœn . ‰ Œ Ó

rit.

(slow 8th note speed to quarter note triplet speed)

- -

17Pinocchio

55

&

&

?

42

42

42

44

44

44

Pin.

Pno.

142 ∑142 œ# œ œ œ

∑

∑

œ# œ œ œ# œ# œ3

3

∑

a tempo

F

∑


3

∑

Pinocchio begins to drift off

&

&

?

..

..

..

..

..

..Mr. C.

Pno.

145 ∑145 œ# œ œ œ# œ# œ

3

3

≈ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ∏ P

(2nd Time) Mr. Cricket Enters ∑


3

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœP

&

&

?

Mr. C.

Pno.

147 ∑147 œ# œ œ œ# œ# œ

3 3

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœP

Œ Rœ# ^ ‰ Rœ̂ ‰ Rœ̂ ≈ Œ/rr/ /rr/ /rr/

Jœ# ‰ Œ Ó

Jœœœœ## ‰ Œ Œ œœ# œœ œœ œœ

f

Suddenly Brisk! q = 112

*

* /rr/ = A rolled "R" with the notated pitch vocalized with it

Œ Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ≈ Œ/rr/ /rr/ /rr/

∑

Jœœ## ‰ Œ Œ œœ# œœ œœ œœ

18 Pinocchio

56

&

&

&

?

Pin.

Mr. C.

Pno.

150 ∑

Rœ# ^ ‰ Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ≈ ‰/rr/ /rr/ /rr/ /rr/ /rr/

150 ∑


∑

Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ‰ Rœ̂ ≈ ‰/rr/ /rr/ /rr/ /rr/ /rr/

∑

Jœœ## ‰ Œ Œ ≈ œœbb œœb œœn œœ#n œœb6

Ó jœ jœ œ#What's that noise!

∑

œœœ œœœ Œ Ó3

œœœœ### œœœœ Œ Œ ‰ Jœœœœb3

&

&

?

Pin.

Pno.

153 ‰ rœ rœ œ œ ˙What's that aw ful noise!

153 Ó . ‰ jœjœœœœ### ‰ Œ Œ ‰ jœœœœ

‰ jœ jœ jœ œ# œ U̇3 3

What's that god aw ful sound!

jœ Œ . Œ .œ œ#

jœœœœ### ‰ Œ Œ ..œœ# œœ#

rit.

- -

&

&

?

Mr. C.

Pno.

155 ‰ Jœ Rœ# Rœ Jœ .Jœ Rœ# Jœ# Jœ#I've been in this house a long, long

155 jœœ## œœ# . œœ. Rœ# Rœ Jœ .Jœ Rœ Jœ Jœ



Jœ Rœ# Rœ œ œ Rœ Rœ Jœ Jœ# œ œ Jœtime, and I've nev er seen a boy as naugh ty as

jœœ## œœœ# . œœœ# . Œ œ œ œ œ œœ œœ


- -

19Pinocchio

57

&

&

?

Mr. C.

Pno.

157 œ# ‰ Jœ œ œ Rœ Rœ# œ#you! Won't ev en do your chores!

157 œœ# . œœ . Œ Ó


‰ Jœ# .Jœ Rœ# Jœ Jœ œ#What kind of son are you?

jœœ## œœ# . œœœ# . œ œœ œœ œœ. œœ. ‰ œœ œœ

œ œ œ# œ œ œ œ œ

‰ ≈ Rœ# .Jœ Rœ .Jœ Rœ Jœ# JœYou need to be a good boy

jœœ## œœ## . œœ. .Jœ# Rœ .Jœ Rœ Jœ# Jœ

œœœ### . œœœ. .jœ rœ# œ œ œ

-

&

&

?

86

86

86

Mr. C.

Pno.

160 Œ ‰ Rœ# œ œ Rœ Jœ Rœ Jœn Jœ#3

Gep pet to de serves a good boy!

160 jœœ## œœ## . œœ. Œ Œ ‰ œœ œœ

‰ jœ# œ œ œ# œ œ# œb

‰ . Rœ# œ# Jœ# œ .œ RœGep pet to de serves a

œœ## . œœ. Œ Ó

‰ jœ# .jœ rœ# œ œ# jœ ‰

w#good

œœ## . œœ. œœ. ‰ œœ. œœ. œœ. œœ. œœ. Œ

œœ#N . œœ. œœ. ‰ œœN . œœ. œœN . œœ. œœ. Œ

- -- - -

&

&

?

86

86

86

Mr. C.

Pno.

163 .œ Œ .163 œœœ# jœœœ## œœœ jœœœ

≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

q. = 48 œ ˙#boy!

œœœ# jœœœ## œœœ jœœœ


∑

œ# œ# .œ# œ œ œ .œ œœœœ## Jœœ# œœœ Jœœ

≈ œ# œ œ# œ œ# ≈ œ œ œ œ œ

20 Pinocchio

58

&

&

?

Mr. C.

Pno.

166 Œ . Œ .166 œ# œ .œ œ œ œ .œ œœœœ##

Jœœ# œœœ Jœœ

≈ œ# œ œb œ# œ# ≈ œ# œ œ# œn œ

Œ . Œ Jœ#A

....œœœœ## U .œ

œ# œ# œ œ# œ œœ# ...œœœ##U

.œ .œ#good boy!



&

&

?

Mr. C.

Pno.

169 ‰ jœ Jœ Jœ# Jœ# Rœ# Rœ#You must learn to be a

169 œœœ# jœœœ## œœœ jœœœ


‰ œ# .œ#good boy!


≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

‰ . .jœ .Jœ .Rœ# .Rœ#You must learn to

œ# œ .œ œ œ œ .œ œœœœ##Jœœ# œœœ Jœœ

≈œ# œ œb œ# œ# ≈

œ# œ œ# œn œ

&

&

?

Mr. C.

Pno.

172 œ Jœ œ Jœread and write and

172 ..œœ# ..œœn≈ œ œ# œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

Jœ# Jœ Jœœ# Rœ Rœ

speak well and spell, like a

..œœ# ...œœœ##≈ œ œ# œ œ œ ≈ œ œ œ œ œ


21Pinocchio

59

&

&

?

Mr. C.

Pno.

174 .œ# .œgood boy!

174

œ# œ œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

∑

œ œ# œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

≈œ# œ œb œ# œ# ≈

œ# œ œ# œn œ

&

&

?

Mr. C.

Pno.

176

œ œ# œ œ# œ# œ jœ# rœ ≈ rœ ≈Aw /rr/ /rr/



œ œ# œ œ# œ# œ jœ# rœ ≈ rœ ≈Aw /rr/ /rr/



œ œ# œ# œ œ# œAw


≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

&

&

?

Mr. C.

Pno.

179 œ œ œ# .œ œ œ# œ#

179 œ# œ .œ œ œ œ .œ œœœœ##Jœœ# œœœ Jœœ

≈œ# œ œb œ# œ# ≈

œ# œ œ# œn œ

‰ . œ# œ œ jœn ≈ œ œ œAw Aw

..œœ# ..œœn≈ œ œ œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

jœ# ≈ œ# œ œ œ# œ‹ œ ‰ .Aw

..œœ# ...œœœ##≈ œ œ# œ œ œ ≈ œ œ œ œ œ


22 Pinocchio

60

&

&

?

Mr. C.

Pno.

182

Jœ Rœ ≈ Rœ ≈ Jœ Rœ ≈ Rœ# ≈Ah /rr/ /rr/ Ah /rr/ /rr/

182

œ# œ œ# œ# œ œ œ# œ# œ œ œ œ œn œ œ œ œ œ œ œ# œ œ œ œ

≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

Jœ Rœ ≈ Rœ ≈ Rœ ≈ ‰ Jœ#Ah /rr/ /rr/ /rr/ A

œ œ# œ# œ# œ œ œ# œ# œ œ œ œ œn œ œ œ œ œ œ œ# œ œ œ œ

≈œ# œ œb œ# œ# ≈

œ# œ œ# œn œ

rit.

&

&

?

Mr. C.

Pno.

184 .œ .œ#good boy!



a tempo ‰ œ œ œ œ# œ# œ# œ#Gep pet to de serves a



‰ œ# œ# Jœgood boy! A


≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

- --

&

&

&

?

44

44

44

44

Pin.

Mr. C.

Pno.

187 ∑.˙

good

187 Œ œœœœ## œœœœ# œœœœ œœœœ œœœœ

Œ œ œœ## œœœ##jœœœœ

jœ# .jœ œ œn jœ Jœ# ŒThat's quite e nough of that!

Rœ ≈ ‰ Œ Ób'(oy)

Jœœœœœ#n ‰ Œ Œ œ# œn œ

jœœœ# ‰ Œ Œ œœ# œœ œœn

Interrupted

Moderate q = 96 jœ œ .œ jœ œ# œ# jœ# rœ rœYou're go ing to lec ture me how to

∑

∑

∑

- - -

23Pinocchio

61

&

&

?

86

86

86

Pin.

Pno.

190 .Jœ Rœ Jœ jœ ‰ rœ# rœ œ œn jœ3

be a good boy? You're not e ven a

190 ∑

Ó jœœœ# ‰ Œ

œ# ‰ Rœ Rœ Rœ œ œ ‰ rœ# rœboy! You're just a crick et! You're not

∑

‰ œœœ# œœœ# ‰ Œ œœœ œœœœ# ‰

œ œ# jœ Jœ œ ‰ rœ jœ Rœ3

e ven a real boy! You're just a

Ó œœ# œœ Œ

Ó œœœœ#nb œœœ# Œ

- - -

&

&

&

?

86

86

86

86

Pin.

Mr. C.

Pno.

193 œ œ# ‰ Œ .crick et!

∑193 ≈ œ œ œ œ œ ≈ œ œ œ œ œ

œœ# Jœœ œœ Jœœ

∑

∑

≈ œ œ œ œ œ ≈ œ œ œ œ œ‰ œ# œ ‰ œ œ

œœ# Jœœ ...œœœ##

∑

Jœ Œ Jœ Jœ JœFine! I'll just a

≈ œ œ œ œ œ ≈ œ œ œ œ œœœ# Jœœ œœ Jœœ

-

-

&

&

&

?

Pin.

Mr. C.

Pno.

196 ∑

Jœ Jœ œ œ Rœ Rœ Jœ Jœnnoy you un til you do what you

196 ≈ œ œ œ œ œ ≈ œ œ œ œ œœœ# Jœœ ...œœœ##

∑

.˙should!

∑

≈ œœb œœ œœbb œœ œœ œœb œœ œœ œœ# œœ##

Pinocchio begins to search for a hammer! ∑

.œ ‰ œb > œ œ œ/rr/ /rr/


-

24 Pinocchio

62

&

&

?

44

44

44

Mr. C.

Pno.

199 .œ# ‰ œ œ œ œ/rr/

199 ≈ œ œ œ œ œ ≈ œ œ œ œ œœœ# Jœœ ...œœœ##

.œ ‰ œb > œ œ œ/rr/ /rr/


.œ# J¿# ≈ R¿ R¿ R¿Wait! What are you()

≈ œ œ œ œ œ ≈ œ œ œ œ œœœ# Jœœ ...œœœ##

&

&

&

?

44

44

44

44

42

42

42

42

44

44

44

Pin.

Mr. C.

Pno.

202 ∑U

∑U

202 ∑U

œœœœœœœœœœ^ Œ ÓU

Pinocchio smashes Mr. Cricketwith a hammer, killing him.

An awkardly long silenceas Pinocchio appreciatesthe silence, overly proudof himself

Smash left arm on low end of piano*

∑

∑

Œ œœœ##‹U

Œ œœœ‹##ggggggggggggggg

&

&

?

44

44

44

Pin.

Pno.

204 jœ# ‰ jœ œ# œ œ# ŒAh! That's much bet ter

204 ∑

∑

Moderate q = 96 ‰ jœN jœ œ œ jœ jœ Jœ œ3 3

Now it's qui et e nough to nap!

∑

∑

∑

∑

‰ jœœ ..œœ œœ# œœ œœ œœ

- - -

25Pinocchio

63

&

&

?

Pin.

Pno.

207 jœ# rœ rœ œ Rœ rœ ‰ ŒBut it's so cold in here!

207 Ó . œœ# œœ œœ##

∑

Pinocchio looks over at the wood he is forbidden from touching‰ jœ# jœ œ œ jœ jœ rœ rœ jœ

I'm sure fa ther won't mind if I use

∑

∑

œb Jœ Rœ rœ jœ ‰ Œjust a piece or two

∑

Ó . œœb œœœ# œœ

-

&

&

?

Pin.

Pno.

210 ∑210

jœœ## œœ œ œ# œ œ œ œ œJœ Jœ œ Jœ

˙̇̇## Ó

Pinocchio starts a fire with Geppetto's wood. ∑œ# œ# œ œ œ œ œ œ œ œJœ# œ Jœ œ œ œ

∑ &

&

&

&

Pin.

Pno.

212 Ó ‰ rœ# rœ jœ jœ# jœ#3

Now it's time for that

212 œ# œ# œ œ œ œ œ œ œ œJœ# œ Jœ œ œ œ

‰ œ# œ .œ ?

œ# Œ œ œ œ3

nap! Time for that

œ# œ# œ œ œ œ œ œ œ œJœ# œ Jœ œ œ œ

Ó ‰ œœ# œœ œœ œœ œœ3 3

26 Pinocchio

64

&

&

?

Pin.

Pno.

214

œ# œ# Ónap

214 œ# œ# œ œ œ œ œ œ œ œ œ œ œJœ# œ Jœ œ œ œ œ

œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ3 3 3 3

∑œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ


&

?Pno.

216 œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ


œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ

œœ# œœœ# œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ3 3 3 3

&

?Pno.

218 œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœ# œ œ œ œ œ œ œ

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ3 3 3 3

œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœ# œ œ œ œ œ œ œ

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ3 3 3 3

&

?Pno.


œœœ## œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3 3 3 3


œœœœ### œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3 3 3 3

27Pinocchio

65

&

?

42

42Pno.


œœœ## œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3 3 3 3



?

&

?

42

42

42

44

44

44

Geppetto

Piano

224 ∑

224 Œ ‰ œœ# œ#Jœ#

œœœb.

œœœ.œœœ.

œ

Urgent! q = 112

Geppetto knockson the door

‰ jœb .œ œn jœ ‰ ‰ ‰ jœ#3

Pi noc chi o! I'm


œb Œ ‰ œœ.œœ.

jœœ.‰

(off-stage)

œ# jœ# rœ rœ œ Œhome! Please let me in!


∑

- - -

&

?

&

?

Pin.

Gep.

Pno.

227 ∑

∑

227 œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœ## œœ œœ œœ œœ œœ œœ œœ


Pinocchio awakens to find that his feet have burned away! œ# Œ .Jœ rœ# œ

Ah! Help fa ther!

Ó . ‰ jœ# jœ3

Let me

œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœ## œœ œœ œœ œœ œœ œœ œœ


-

28 Pinocchio

66

&

?

&

?

Pin.

Gep.

Pno.

229 Œ ‰ jœ# jœ jœ œ jœ œ#3 3 3

Please help! I can't! I can't!

œ# Œ Óin!



Œ . Rœ# Rœ ˙#I'm on fire!

∑



?

&

?

Gep.

Pno.

231 ∑231 œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœ## œœ œœ œœ œœ œœ œœ œœ

œœ##œœ## >

œœ>œœ>

œœ## >

Geppetto breaks the door down and rushes to save Pinocchio ∑

œ# œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œœœ## œœ œœ œœ œœ œœ œœ œœ

œœ## >œœ> ˙̇## >

&

?Pno.

233 œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ## œœ œœ œœ œœ œœ œœ œœ

Œ œœ## >œœ>

œœ>jœœ## >

3

œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ## œœ œœ œœ œœ œœ œœ œœ

œœ## >œœ> ˙̇## >

29Pinocchio

67

&

?Pno.

235 ....œœœœ## œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ

jœœ œœ œœ œ# jœœ œœ œœ œ

œœœœ## œœœœ œœœœ œœœœ ....œœœœ œœœœ œœœœ

œœ œ# œœ œœ œ jœœ œœjœœ

wwww##

jœœœ### œœœ œœœ œœœjœœœ œœœ œœœ œœœ

?

&

?

Gep.

Pno.

238 ∑238 wwww##

jœœ œœ œœ œ# œœ œ œœ œœ œœ

Œ ‰ rœ# rœ jœ .Jœ# rœ jœAre you o kay my son?

Jœœœœ ‰ œœœ## jœœœ œœœ jœœœ

jœœ ‰ .˙#

A Little Slower q = 98 jœ ‰ jœ# ‰ jœ rœ rœ jœ Jœ#Wait... How did you start this

œœœ## œœœ œœœ œœœ œœœ œœœ∑

-

&

?

&

?

Pin.

Gep.

Pno.

241 Œ . jœ# .Jœ rœ œ .œI'm sor ry Fa ther

œ# œ# Œ Ófi re?

241

œœœœ### œœœœ œœœœ œœœœ œœœ œœœœ#

∑

‰ jœ# œ# .œ œ ŒI'm sor ry!

∑

œœœœ œœœœ### œœœœ jœœœ œœœ jœœœÓ jœ œ jœ

∑

‰ r¿ r¿ j¿ Œ J¿ ‰ R¿ R¿No! No! No! I... I can't

jœœœ### ‰ Œ Ó

jœ ‰ Œ ˙̇

-

- - -

30 Pinocchio

68

?

&

?

Gep.

Pno.

244 ≈ rœ rœ œ œ rœ Jœ jœ ‰ ‰ jœI can't be live you did this! That

244 Ó Œ œœœœ#gggg˙̇ jœœ ‰ Œ

œ Jœ Jœ œ œ jœ jœb jœ3

wood was the on ly thing we had

wwww∑

œ œ# jœ jœ jœ jœ œ œ Œ3

to bring in an y mon ey!

Ó Œ ‰ jœœœœÓ . ‰ jœ

- - - -

&

?

&

?

42

42

42

Pin.

Gep.

Pno.

247 ‰ jœ œ œ jœ œ ŒI'm sor ry fa ther...

∑247 wwwwN#

w

Even slower q = 80 ∑

‰ rœ rœ jœ rœ rœ rœ rœ rœ rœ rœ rœ œ œAnd to think I spent the last of it on a pre sent!

jœœœœ ‰ Œ Ó

jœ ‰ Œ Ó

∑

Œ ≈ rœ œ œ rœ œ# œ Rœ Jœ jœ#There's on ly a cou ple of logs left

∑

∑

- -

- - -

&

&

?

42

42

42

43

43

43

44

44

44

Pin.

Pno.

250 ∑250

œ#œ# œ# œ œ# œ# œ# œ#

˙̇̇###gggg

‰ jœ œ jœ# ‰A pre sent?

œœœœN Œ ‰ JœœœN

œœœ Œ ‰ Jœœœ

‰ rœ# rœ œ œ œ œ jœ jœ# Jœ3

Can my pre sent may be be new feet?

Jœœœœ## ‰ Œ Ó

Jœœœœ## ‰ Œ Ó

(indignant)

- - -

31Pinocchio

69

?

&

?

42

42

42

Gep.

Pno.

253 ‰ jœ# œ ‰ jœ# ‰ jœNew feet? Why? Just

253 ˙˙̇### Ó

˙̇̇̇###ggggggggggggggggg Ó

jœ# jœ jœ jœ jœ Jœb œb ‰ jœ33

so you can kick me a gain? So

∑

∑

jœ jœ jœ œb œ œ jœ Jœ rœ rœ jœ Jœ#33

you can just dis o bey what I ask of you a

∑

∑

- - - -

&?

&

?

42

42

42

42

44

44

44

44

Pin.

Gep.

Pno.

256 ∑˙

gain?

256 ˙̇#

˙̇̇#gggggggggggggggg

‰ rœ# rœ jœ ‰ œ# œ ‰ . rœ rœ rœWhat if I pro mise to be a

∑

jœœ# ‰ Œ Ójœœœ# ‰ ‰ rœ#

jœ. Ó

œ Jœ ‰ Ógood boy?

Ó jœ# .œ#A good

www#gggggggggggggggg ww#

-

&

?

&

?

45

45

45

Pin.

Gep.

Pno.

259 ∑

œ# ‰ " jœ .œ# œ œboy? Pi noc chi o!

259 Œ ‰ Jœ# .œ# œ œ

∑

∑

‰ jœ# jœ jœ# jœ œ# Œ3

I'll strike you a deal!

jœœ## ‰ Œ Œ œœœ## œœœœœ### œ# œ œ# œ œ# œœœ#n œœœ3

œ# œ# .œ Jœ jœ Jœ œ#3

Yes, fa ther? What kind of deal?

∑

Ó œ# œ# œ œœœ#3

Ó . œœœ#

- - -

-

32 Pinocchio

70

?

&

?

45

45

45

44

44

44

Gep.

Pno.

262 ‰ rœ rœ rœ rœ œ jœ ‰ " rœ rœ jœ jœ jœ3

I will make you new feet! But you must go to

262 ...˙̇̇ Ó

....˙̇̇̇ Ó

˙ Óschool!

jœœ# œœ œœ# œœ##jœœœ œœœ œ œJœ Jœ



œœ

&

?

&

?

42

42

42

Pin.

Gep.

Pno.

264 œ œ .œ ‰ jœ jœ Jœ jœ jœ3 3

Yes Fa ther! If you give me new

∑264 jœœœ# œœœ œ œ# œ œ œ œ œJœ œ œ Jœ



œœ

Jœ jœ jœ Jœ jœ Jœ ˙3 3

feet then I will go to school!

∑

jœœ# œœ œ œ# jœœ œœ œ œJœ Jœ



œœ

∑

Œ jœ jœ jœ ˙3

Then it's a deal!

jœœ# œœ œ œ# œ œ œ œ œJœ œ œ Jœ



œœ

-

?

&

?

42

42

42

44

44

44

Gep.

Pno.

267 ∑267

œ# œ# œ œ# œ œœ œœ œ Jœ

Jœœœ# œœœ J

œœœ#

accel. ∑

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ


Brisk! q = 120

Gepetto builds new feet for Pinocchio

∑

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ‰ ≈ Rœ# jœ ‰ Œ jœœ#a ‰

33Pinocchio

71

&

?

42

42

44

44Pno.

270

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ


œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ‰ œœ## œœ ‰ Œ jœœ ‰

œœœ## . œœœ. œœœ.œœ## . œœ. œœ.

&

?

&

?

44

44

44

44

Pin.

Gep.

Pno.

273 Œ Rœ# Rœ jœ# jœ Œ jœThank you fa ther! For

∑273 jœœœ### œœœ œ œ‹ jœœ œœ œ œ‰ Jœ Jœ

Jœœœ## œœœ œ œ‹ J


œœ

Maestoso q = 72

œ# œ jœ œ# œ# ‰ jœ3

build ing me new feet! I

∑

jœœ## œœ œ œ‹ œ œ œ œ# œJœ œ œ Jœ



œœ

œ# œ rœ jœ Jœ# œ# Jœ ‰ Jœ3

pro mise I'll be a good boy! A

∑

jœœ## œœ œ œ‹ jœœ œœ œ œJœ Jœ



œœ

- - -

&

?

&

?

Pin.

Gep.

Pno.

276 ˙# ˙#good boy!

Ó . jœ# jœ jœ3

You'll be a

276 jœœ## œœ œ œ‹ œ œ œ œ# œJœ œ œ Jœ



œœ

Jœ ‰ Œ ‰ jœ# rœ rœ Jœ#I'll go to school,

˙# ˙#good boy!

jœœ‹# œœ œ œ‹ œ œ œœ œ œJœ œ œ

Jœœœ##‹ œœœ œ œ‹ œ œ œœœ œ œJ

œœ œœ œœ

rœ# rœ jœ Jœ# Jœ# œ œ rœ œ œ Jœand I'll be so smart be fore you e ven know

∑

jœœ‹# œœ œ œ‹ œ œ œ œ# œJœ œ œ Jœ#

Jœœœ##‹ œœœ œ œ‹ J


œœ

- -

34 Pinocchio

72

&

?

&

?

42

42

42

42

44

44

44

Pin.

Gep.

Pno.

279

Jœ ‰ Œ Óit!

‰ rœ rœ rœ rœ Jœ rœ rœ jœ Rœ rœ rœ rœYou will go to school and you will learn to be a

279 jœœnn œœ œ œ# jœœ œœ œ œJœ Jœ

Jœœœnbn œœœ œ œ# J


œœ

Œ . jœ œ œA good boy!

œ ˙ œgood boy

jœœ œœ œ œ# œ œ œ œ œJœ œ œ Jœb

Jœœœb œœœ œ œ# J


œœ

˙

˙

∑

∑

?

&

?

44

44

44

42

42

42

44

44

44

Gep.

Pno.

282 ‰ Jœ ‰ rœ œ œ jœ Rœ rœ rœ rœWait! I al most for got a bout your

282 jœœ ‰ Œ Ó

Jœœœ ‰ Œ Ó

œ œpre sent!

∑

∑

- - - -

&

?

&

?

44

44

44

44

Pin.

Gep.

Pno.

284 ‰ jœ ˙ œMy pres ent?

œ Œ Ó284 jœœœnn œœœ œ œ# jœœœ œœœ œ œJœ Jœ

Jœœœnn œœœ œ œ# Jœœœ œœœ œ œJœœ Jœœ

∑

‰ œ jœ Jœ jœ Jœ Rœ rœ rœ Rœ3

Yes, I got you a book to go to

jœœ œœ œ œ# œ œ œ œ œJœ œ œ œb

Jœœœ œœœ œ œ# Jœœœ œœœ JœœœbJœœ

-

35Pinocchio

73

&?

&

?

Pin.

Gep.

Pno.

286 ‰ rœ rœ rœ rœ rœ rœ jœ jœ ŒWhere I'll learn to be a good boy!

˙ Óschool!



∑

‰ rœ rœ jœ jœ jœ jœ .œ3

Where you'll learn to be a good



&?

&

?

Pin.

Gep.

Pno.

288 ‰ Jœ Rœ Rœ Rœ Rœ ˙I'll learn to be a good

˙ ≈ Rœ Rœ Rœ œto be a good



wboy!

wboy!



w

w

jœœ œœ œ œ# jœœ œœ œ œJœ Jœ

wwæ

&?

&

?

Pin.

Gep.

Pno.

291 Jœ ‰ Œ Ó

Jœ

291 wwæ

wwæ

∑∑

jœœ ‰ Œ Ó

jœœ ‰ Œ Ó

36 Pinocchio

74

&

&

&

V

?

&

?

&

?

44

44

44

44

44

44

44

44

44

Pinocchio

Harlequin

Signora

Punch

Mangiafuoco

Fox

Cat

Piano

∑

∑

∑

∑

∑

∑

∑

œœ. œœ œ# œœ. œœ œ œœ œœ ..œœ œ

∑

q = 100

q = 100

q = 100

q = 100

∑

∑

∑

∑

∑

∑

∑


∑

∑

∑

∑

∑

∑

∑

∑

œœœ# œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ#

∑


©

Score

Act I, Scene II

75

&

?Pno.

296


∑


∑

œœœ# œœ œœ œœ œœ œœœ œœ œœœ# œœ œœ

∑

&

?

43

43

44

44

43

43Pno.

299 œœ# . œœ. œœ. œœ œœ#‹ œœ œœ œœ œœ œœ. œœ œœn

∑

œœ# . œœ.jœœ. œœ# Jœœ

∑

œœ# . œœ. œœ. œœ œœ#‹ œœ œœ œœ œœ œœ. œœ œœn

∑

&

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43

43

44

44Pno.

302 œœ# . œœ.jœœ.

œœ# œœn œœ

∑


œœ.Œ ‰ œ. œ. œ.


œœ.‰ jœœ## ..œœ

jœœ

&

?Pno.

305

œœœ# œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ#œœ## . œœ.

œœ.œœ. œœ. œœ.

œœ.œœ.


œœ.Œ ‰ œ. œ. œ.


œœ.‰ jœœ## ..œœ œœ œœ##

&

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43

43Pno.

308

œœœ# œœ œœ œœ œœ œœœ œœ œœœ# œœ œœ

œœ# œœ# œœ œœ# œœ œœ# œœ œœ œœ œœ œœ œœ


œœ# œœ œœ‹# œœ œœ œœ œn œ# œ œ œ# œ# œ# œ œ

2 Pinocchio

76

&

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43

43

44

44

43

43Pno.

310 œœ# . œœ.jœœ. œœ# Jœœ

œ# œ‹ œ# œ œ œ Œ Jœœ#


œœ# œœ œœ‹# œœ œœ œœ œn œ# œ œ œ# œ# œ# œ œ

&

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43

43

44

44Pno.

312 œœ# . œœ.jœœ.

œœ# œœn œœ

œ# œ‹ œ# œ œ œ Œ jœ

œœ. œœ œ# œœ œœ œœ œ œœ œ œœ œœ

œœ ‰ jœœ œœ ‰ jœœ

œœ. œœ œ# œœ œœ œœ œ œœ œ œœ œœ œ

œœ ‰ jœœ œœ Œ

&

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85

85

44

44Pno.

315

œœ œ# œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœœ œœ

Ó . ‰ jœœ

œœœ. œœœ. œœœ. ‰ œœœ. œœœ. œœœ. œœœ.œœ.

‰ œœ œœ

œœœ. Œ Ó

œœœ. œ. œ. œ. œ. œ. œ. œ.

Curtain Rises/Lights On

&

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..

..

..Pno.

318 ∑

œ.œ. œ.

œ. œ.œ. œ.

œ.

jœœnn œœ œ œ# jœœ œœ œ œJœ Jœ

œ.œ. œ.

œ. œ.œ. œ.

œ.

Pinocchio enters jœœ œœ œ œ# œ œ œ œ œJœ œ œ œb

œ.œ. œ.

œ. œ.œ. œ.

œ.

3Pinocchio

77

&

&

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Pin.

Pno.

321 ∑

321

œœ.œ# œ œ Œ ‰ jœ. ‰ jœ.

œ. œ. œ. œ. œ. œ. œ. œ.

‰ rœ rœ jœ jœ jœ .œ jœ3

It's my first day of school!

‰ rœ rœ jœ jœ jœ .œ jœ3

œ. œ. œ. œ. œ. œ. œ. œ.

‰ rœ rœ jœ jœ jœ .œ# Jœ3



œ. œ. œ. œ. œ. œ. œ. œ.

&

&

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Pin.

Pno.

324 ∑

324 jœœ œœ œ œ# œ œ œ œ œJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

‰ rœ rœ œ œ ‰ rœ rœIt's the first day! And I'm

œœœ.Œ Ó

œ. œ. ‰ œ. œ. œ. ‰ œ.p

jœ jœ jœ jœ jœ jœ jœ jœ jœ rœ rœ3 3

al rea dy go ing to be so smart by the

∑

œ. œ. ‰ œ. œ. œ. ‰ œ.

- - -

&

&

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Pin.

Pno.

327

Jœ Jœ jœ ‰ Œ . rœ rœ#end of it! By the

327 ∑

œ. œ. ‰ œ. œ# .œ. ‰ œ.

jœ jœ# jœ jœ jœ jœ jœ rœ rœend of it I'll be so smart that my

∑

œ.œ. ‰ œ. œ.

œ. ‰ œ.

jœ œ# œ jœ œ œ Jœ œ œ œ3

own fa ther won't e ven re cog nize

∑

œ.œ. ‰ œ. œ. œ. ‰ œ.

- - - -

4 Pinocchio

78

&

&

?

Pin.

Pno.

330 œ Œ Óme!

330 ‰. œœ# œ# œœ. œœ œ Œ œœ œœ œœ#

œ.œ. ‰ œ œ# œ. œ.

‰ œ. œ#

‰ jœ œ œ jœ# jœ jœ jœ jœ Jœ3

And be ing so smart will make him so

∑

œ.œ œ# ‰ Jœ. œ.

œ œ ‰ Jœ.

.œ Jœ ˙proud of me

Œ ‰ jœ. ‰ jœ. ‰ jœ.

œ. œ. ‰ œ. œ. œ. œ# . œ# .

-

&

&

?

Pin.

Pno.

333 ‰ rœ rœ# jœ rœ rœ jœ ‰ rœ rœ rœ rœBy the end of to day I'll know how to

333 ∑

œ. œ. ‰ œ. œ. œ. ‰ œ.

jœ jœ jœ jœ# jœ Jœ .jœ rœread and write and spell and do a

∑

œ. œ. ‰ œ. œ. œ. ‰ œ.

- -

&

&

?

Pin.

Pno.

335

œ œ# œ Œ Œ ≈ rœ rœ rœrith me tic! And if I

335 Œ ‰ œœ# œœ## œœ œœ œœ Œ

œ. œ. Œ Œ ‰ Jœ.

jœ jœ rœ rœ# rœ rœ rœ rœ œ œ rœ rœ rœlearn all that just by the end of to day then just i

∑

œ. œ. ‰ œ. œ. œ. ‰ œ.

- - - -

5Pinocchio

79

&

&

?

43

43

43

Pin.

Pno.

337

œ œ Jœ jœ Jœ jœ# rœ rœ rœ rœ jœma gine how smart I'll be by the end of the

337 ∑

œ. œ. ‰ œ. œ# . œ# . ‰ œ.

.œ# Jœ Œ jœ jœ jœ3

week! I'll be the

∑

œ œ ≈ œ œ# œ œ œ ≈ œ œ œ

-

&

&

?

43

43

43

44

44

44

Pin.

Pno.

339 .œ œ Jœ jœ Jœ œ#3

smart est boy in the world!

339 ∑

œœœœ## œ. ‰ Jœ. ‰ Jœ.

˙ Ó

jœœ#n œœ œ œ# jœœ œœ œ œJœ Jœ

œ. œ. œ. œ. œ. œ. œ. œ.

∑

jœœ# œœ œ œ# œ œ œ œ œJœ œ œ œ

œ. œ. œ. œ. œ. œ. œ. œ.

-

&

?Pno.

342 jœœ#n œœ œ œ# jœœ œœ œ œJœ Jœ

œ. œ. œ. œ. œ. œ. œ. œ.

jœœ# œœ œ œ# œ œ œ œ œJœ œ œ œ

œ. œ. œ. œ. œ. œ. œ. œ.œœ. œœ. ‰ œœb . œœ. ‰ œœœœ. œœœœ.

œ. œ. œ. œ. œ. œ. œ. œ.

6 Pinocchio

80

&

&

?

Pin.

Pno.

345 ‰ rœ rœ jœ jœ jœ .œ jœ3


345 jœœœ. ‰ Œ Ó

œ. œ. œ. œ. œ. œ. œ. œ.



∑

œ. œ. œ. œ. œ. œ. œ. œ.

∑

œœ œœ œœ œ œ# œ œ œ œ œJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

&

&

?

42

42

42

44

44

Pin.

Pno.

348 ∑

348 ‰œœ œœ œœ œ œ# œ œ œ œ œb œœJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

‰ Jœ Jœ Jœ Jœ Jœ œWhere I'll learn to be a

œœœ œœœ œœœ œ œ# œ œ œ œ œJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

˙ ˙good boy!

‰œœ œœ œœ œ œ# œ œ œ œ œb œJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

Jœ ‰ Œ

œœœœ.œœœœ. Œ

œœ. œœ.Œ

&

?

44

44

43

43Pno.

352

..œœ# œœ œœ œœ œœ ..œœ# œœ œœ œœ œœ3 3

∑

A Little Slower q = 92 ..œœ# œœ œœ œœ œœ ..œœ# œœ œœ œœ œœ3 3

∑

..œœ œœ œœ œœ œœ## ..œœ œœ œœ œœ œœ œœ

∑

7Pinocchio

81

?

&

?

43

43

43

44

44

44

Mangiafuoco

Piano

355 ‰ ≈ Rœ œ ‰ jœ#Be hold! The

355 Jœœ ‰ Œ Œjœœ ‰ Œ ‰ jœœœœ####

.œ# œ# œ œ œ# œ#3

great est show in the world!

Œ œ œœ## œœœ œœœœ œœœœ œœœœ3

œœœœ### œœœœ œœœœœœœœ# œœœ

3

˙ Ó

œœœœ œœœœ œœœœ œœœœ œœœœ### œœœœ ‰ jœ œ

˙ œœ# œœ# œœœ

- -

&

?

&

?

42

42

42

42

44

44

44

44

Pin.

Mang.

Pno.

358 ‰ rœ rœ .œ# œ# Rœ Rœ œ œ .Jœ# RœWell I guess I can learn a bout stuff to

∑358 ∑

∑

œn œ# Œmor row

∑

∑

Œ ‰ Jœœœœ#

∑

‰ ‰ Jœ œ# jœ jœ rœ# rœ œ3 3

The great est show in the world!

Ó . ‰ ‰ jœœ#3

Jœœœœb ‰ Œ Ó

-

- - -

&

?

&

?

43

43

43

43

44

44

44

44

Pin.

Mang.

Pno.

361 Œ œ Jœ œ# œ# Œ3

Yes, to mor row!

∑

361 ..œœ œœ# œœ œœ œœ œœ œœ œœ# .3

∑

∑

Œ . rœ rœ œ œ œ œ Jœ3

With the great est pup pets you've

∑

œœœœœ# . œœœœœ. Œ Ó

∑

œ œ ˙#ev er seen!

Ó ‰ jœ-

Ó ‰ Jœœœœ-

- - -

- -

8 Pinocchio

82

&

?

&

?

44

44

44

44

43

43

43

43

45

45

45

45

44

44

44

44

Pin.

Mang.

Pno.

364 Œ . rœ rœ œ œ œ œ Jœ3

With the great est pup pets I've

∑364 œ. œ. Œ Ó

œœœœ# . œœœœ. Œ Ó

œ œ ˙#ev er seen?

∑

∑

Ó ‰ Jœœœœ-

∑

Œ ‰ œ œ jœ jœ œ œ œ# œ œb3

On ly here at Man gia fuo co's

∑

œœœœ# . œœœœ. œœœœ

. œœœœ. Ó Œ

- - -

- - -

&

?

&

?

44

44

44

44

Pin.

Mang.

Pno.

367 ∑

œ œ œ ˙b Jœ ‰3

tra vel ing cir cus!

367 ∑

∑

∑

‰ rœ rœ œ œ .œ JœbAnd it on ly cost four

∑

∑

Ó ‰ rœ .jœ JœBut I don't

œb œ ‰ Œ Ópen nies!

∑

Œ jœ# œœ# œœÓ

.œ# Jœ œ œ# Œhave four pen nies!

∑

Ó . œœœ## .∑

- - - - -

-

?

&

?

Mang.

Pno.

371 œ# ‰ jœ œ œ Œ JœbHmfh! No pen nies, no

371 ∑

∑

jœ ‰ Œ Óshow!

Œ ‰ jœb . ‰ œ. ‰ œ.œœœbb . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.

-

9Pinocchio

83

&

&

?

Pin.

Pno.

373 ≈ rœb rœ rœb jœ œ# Jœ jœ ‰Where can I get four pen nies?

373 ∑

œœœbb . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.

∑

...œœœ## æ ‰ ...œœœæ jœ#

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ . œœœ . œœœ## . œœœ. œœœ.

Schoolbell Ringing

-

&

&

?

Pin.

Pno.

375 ‰ jœ# œ ‰ Jœ Jœ Jœ#Oh no! That's the school

375 œ# œ œ ‰ Jœ Jœ Jœ#

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ### . œœœ. œœœ œœœ. œœœ.

œ ‰ jœ# ‰ jœ œ#bell! Wait! The school

œ ‰ jœ# ‰ jœ œ#

Jœœœ### . ‰ Œ Ó

œ# ‰ jœ œ# jœ ‰bell My school book!

œ# ‰ jœ œ# jœ ‰

∑

&

&

?

Pin.

Pno.

378 Œ rœ rœ rœ rœ œ Jœ ‰ "I could sell my school book!

378 ∑

∑

Ó . rœ œ œHow a bout


∑

(To Audience Members) ‰ Jœ jœ ‰ œ# œ rœ rœ rœ rœyou sir? Ma dam would you like a


∑

- -

10 Pinocchio

84

&

&

?

Pin.

Pno.

381 œ ‰ jœ œ œ jœ œ œ3

book? It's on ly four pen nies!

381


∑

Fox and Cat Enter

Œ œb ‰ rœ œ œ ‰Please? What a bout


∑

Jœ Jœ Œ jœ ‰ jœ ‰You sir? Please? Please?


∑

- - -

&

?

&

?

Pin.

Cat

Pno.

384 œ Œ jœ .œPlease? P(uh) lease!

∑384


∑

∑

∑

jœœ ‰ Œ œ œ?

œ. œ œ# œ. œ œ œ œ .œ œ

Slower q = 80

Slower q = 80

Slower q = 80

∑

≈ Rœ Rœ Rœ œ Jœ Rœ Rœ Jœ Rœb RœI bet that book's worth a lot more than four

.œ Jœ# .œ Jœb &

œ. œ œ# œ. œ œ œ œ .œ œ

To Fox

-

&

?

&

?

Fox

Cat

Pno.

387 Œ ‰ .Jœ Rœ.œ

Yes, in deed!

œ œ Œ Ópen nies!

387 jœn ‰ Œ Ó

œ# œ œ œ œ œ œ œ œ œ œ# œn

‰ Jœ Jœ# œb Jœ ŒWhat a deal!

‰ Jœ# Jœ œ Jœ# ŒWhat a deal!

∑

œ# .Œ Œ œ. œ.

Jœ Jœ# œb Jœb ‰ ŒWhat a steal!

Jœ# Jœ# œ Jœ# ‰ ŒWhat a steal!

∑

Ó ‰ œ# . œ. œ.

Jœ Jœ œ œ# œ œ .œ#What an in cred i ble deal!

Jœ# Jœ œ œ œ œ# .œWhat an in cred i ble deal!

∑

∑

-

- - - -

- - -

11Pinocchio

85

&?

&

?

42

42

42

42

44

44

Fox

Cat

Pno.

391 Jœ ‰ Œ Ó

Jœ ‰ Œ œ# œ œ3

I'll buy your

391 ∑

œœœœœœ##

## Œ Ó

∑

Jœ̂ ≈ RœN œ œb œbook from you, my chi

∑

∑

∑

jœ ‰ Œld.

Œ œU

∑

(triangle)

-

?

&

?

44

44

44

Mang.

Pno.

394 ∑394 ∑

..œœ# œœ œœ œœ œœ ..œœ# œœ œœ œœ œœ3 3

∑

∑..œœ# œœ œœ œœ œœ ..œœ# œœ œœ œœ œœ

3 3

∑

..œœ œœ œœ œœ œœ## ..œœ œœ œœ œœ œœ œœ

∑

Œ œ jœb .œShow's start ing!

jœœ ‰ Œ Ó

∑

-

&

?

43

43

44

44

43

43

44

44Pno.

398 ∑

wwbb æ(timp.)

Harlequin Enters ∑

œœbb . Œ Œ

∑

wwbb æ(timp.)

Signora Enters ∑

œœbb . Œ Œ

∑

wwæ(timp.)

Punch stumbles in ∑

œœ# Œ Ó

12 Pinocchio

86

&

&

V

&

?

Harlequin

Signora

Punch

Piano

404 ∑

∑

∑

404 ∑

œœbb . œ œ. œ. œ. œ œ œ. œ.

∑

∑

∑

∑

œb . œb œ. œ. œ. œ œ œ. œ.

‰ œb œ Rœrœ ˙ ‰

Wel come to the show!

‰ œ œ rœb rœ ˙ ‰Wel come to the show!

‰ œ œ Rœb rœ ˙ ‰Wel come to the show!

∑

œœbb . œ œ. œ. œ. œ œ œ. œ.

-

-

-

&

&

V

&

?

42

42

42

42

42

44

44

44

44

44

Har.

Sig.

Pun.

Pno.

407 .œ œ œ œ œb œ œ œ. œ.3

Man gia fuo co's trav el ing cir cus!

.œ œ œ œ œ œ œb œ. œ.3


.œ œ œ œ œ œ œ œ. œ.3


407 ∑

œb . œb œ. œ. œ. œ œ œœœ. œœœ.

.œ œ œ œ œb œ œ œ. œ.3


.œ œ œ œ œ œ œb œ. œ.3


.œ œ œ œ œ œ œ œ. œ.3


∑

œb . œb œ. œ. œ. œ œ œœœ. œœœ.

∑

∑

∑

∑œœœœ. œœœœ

.

A play begins... ∑

Ó Œ .Jœ RœYes, my

‰ Jœ Jœb œ ‰ ŒSig no ra!

wwwwww

ggggggggggggggg

Quasi-classical q = 72

Quasi-classical q = 72

Free Recit

- - - - -

- - - - -

- - - - -

- - - - -

- - - - -

- - - - - - -

13Pinocchio

87

&

V

&

?

43

43

43

43

Sig.

Pun.

Pno.

411

Jœ œb ‰ Ódear?

Ó rœ rœ rœ rœ rœ Rœ JœYou know that my love for you

411 ...œœœb jœœœ. ˙̇̇

...œœœb

gggggggggggggggjœœœ.

˙̇̇

∑

Jœ Jœ Jœ Jœ œ Œis un end ing

˙˙˙b ...œœœjœœœ

˙̇̇ ...œœœggggggggggggg

jœœœ

‰ rœ rœ rœ œ rœ rœ rœ rœ rœ rœ RœbI love you too, but I wor ry a bout your

∑

wwwwwww

- -

- -

&

V

&

?

43

43

43

43

44

44

44

44

Sig.

Pun.

Pno.

414 .Jœ œ œb œ Œfi an ce!

∑414

˙˙˙b ‰ jœœœ˙̇̇ ‰ jœœœ

∑

‰ Rœ Rœ Jœ jœ ‰ jœ# rœ rœ jœDo not wor ry! No wo man has

www#

˙̇̇# ˙̇̇#

∑

œ œ jœ rœ Rœ Jœ Rœ Jœ Rœ Jœ Jœ3

ev er ex pec ted him to be un faith full

wwwwww##

- -

- - - - - -

14 Pinocchio

88

&

V

&

?

Har.

Pun.

Pno.

417 ∑

.Jœ rœ œ œ Ówith his maid!

417 jœœ# ‰ ...˙˙̇n

Jœœœ## ‰ ˙̇̇ ‰ J

œœœ

‰ . Rœ# Jœ jœ ‰ jœ œ# œI've caught you you ly ing

∑

˙̇## ˙̇#˙̇̇## ˙̇̇##

Interrupting the show

Jœ Jœ jœ Œ Œ Œ3

son of a

Œ œ# ‰ Jœ Jœ# Rœ RœWait! Is that who I

œœ jœœ## ‰ Œ ‰ ‰œœœ Jœœ## ‰ Ó

∑

œ œ# œ# Óthink it is?

Œ ‰œ œ# œ œ œ œ œJœ œ œ Jœb

Œ ‰ œ œ# Jœœœ œœœ J

œœœJœœb

-

&

&

V

&

?

Har.

Sig.

Pun.

Pno.

421 ∑

∑

Œ œ .œ JœPi noc chi

421 ∑

wwæ

q = 152

q = 152

∑

Œ œ .œ jœPi noc chi

wo!

∑

wwæ

Œ œ .œ JœPi noc chi

wo!

œ œ œ# œPi noc chi

∑

wwæ

wo!

w

wo!

wwww

œœ œœ œœ œœ œœ œœ3 3

- - -

- - -

- - -

- - -

15Pinocchio

89

&

V

&

?

Sig.

Pun.

Pno.

425 Œ Jœ Jœ œ œ#How have you been?

∑

425 ∑

Jœœœ# ‰ ‰ ‰ Œ ‰ ‰

q = 100

q = 100

∑

‰ jœ œ œ jœ jœ rœ rœ rœ rœ JœI have'nt seen you since you were a stump

∑

Jœœœ# ‰ Œ Ó

∑

‰ Jœ œ Óthis size!

∑

∑

(laughter)

(laughter)

(All laugh)

&

&

V

&

?

43

43

43

43

43

44

44

44

44

44

Har.

Sig.

Pun.

Pno.

428 Ó Œ Jœ œ3

Oh no!

Ó Œ jœb œ3

Oh no!

Ó Œ Jœ œ3

Oh no!

428 ∑

˙̇bb æ jœœ ‰ Œ

Ó ‰ jœ .œb œIt's Man gia



∑

˙̇bb æ jœœ ‰ Œ

œ œb ‰ jœ œ œ œ3fuo co, the fi re ea



∑

∑

wter!

wter!

wter!

∑

œ œb œ œ œ œ œ œb

q = 152

q = 152

- - - - -

- - - - -

- - - - -

-

-

-

16 Pinocchio

90

?

&

?

Mang.

Pno.

432 ∑

432

˙̇̇n# ˙̇̇n


∑

‰ ...œœœn# œœœ##‹ œœœ#


˙ ˙#Who dares

∑


Œ œ# œ# œ# ‰ œin ter rupt my

∑


- -

?

&

?

Mang.

Pno.

436 w#show?

436 Ó ˙̇̇n#


∑



˙ ˙#Who dares

∑


Œ œ# œ# œ# ‰ œin ter rupt my

∑


- -

?

&

?

Mang.

Pno.

440 wshow?

440 ‰ œœ# œœ# œœ# . œœnb œœ œœb œœ# œœ. ‰ Jœœ


∑

Jœœ Œ Jœœ# > ‰ Jœœ> Œ


Ó ˙#You

∑

œœœœbb . œœœœ. œœœœ. Ó

17Pinocchio

91

?

&

?

Mang.

Pno.

443 ˙b Óthere!

443 Ó ‰ œœ# œœ# ‰

‰ œœ# . œœ# . œœ . œ# œ# œ œ œ œ œ œ

‰ Jœ Jœ Jœ œ œ œHow dare you in ter rupt

˙˙# > Ó


Jœ jœ ˙# Jœ Jœthe show, of the

∑


- -

?

&

?

42

42

42

44

44

44

Mang.

Pno.

446 ˙ .œb Jœgreat Man gia

446 ∑

œœœœœbbb > œœœœœ

> Ó

f ˙bfuo

∑

∑

˙b Óco!

˙̇̇n# ˙̇̇n


∑



- - -

?

&

?

Mang.

Pno.

450 Ó jœ jœ# œYou look like

450

œœœn# > œœœn > œœœn >‰ Ó

œb > œ> œ> ‰ Ó

‰ œ œ .œ#you would make

∑

œ œb œ œ œ œ œ œ

‰ œ Jœ œ œ#good fi re wood!

∑

œ œb œ œ œ œ œ œ

˙ Œ œ#Yes!

∑

œ# œn œ œ# œ œn œ œ

-

18 Pinocchio

92

?

&

?

Mang.

Pno.

454 Œ œN Jœ Jœ œ œI'll cook my din ner

454

˙̇̇n# ˙̇̇n


Œ œ ˙#with you!

∑

jœœ ‰ Œ ‰ œœ# . œœ# . œœ .

.˙ Œ

˙˙̇̇## Ó

œœ œœ## œœ œœ

∑

Ó ˙U

ww#U

-

&

?

&

?

Pin.

Mang.

Pno.

458 Œ jœ Jœ jœ rœ rœ Jœ Jœ Jœ3

Please, oh please, do not use me for

∑

458

w

wwwgggg

q = 80

q = 80

q = 80

œ œ ˙# Œfi re wood!

∑

˙ œ œ œ œbwww

∑

‰ Jœb Rœ Rœ Jœ œb jœ jœI feel its a fair price for

wwwwwbbbgggggg

∑

œb œb œ Rœ ˙b Œru in ing my show!

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462 Œ . rœ rœ œ jœ# œ œ3

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462

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- - - - - -

19Pinocchio

93

&

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42

42

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44

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Pno.

466 ‰ jœ rœ rœ œ œb .Jœ œ œ œYour show just soun ded more ex cit ing!

466 wwwwwgggggg

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469 Œ Jœ Jœ Jœ Rœ Rœ œ œ œ œI feel moved by your sit u a tion

469 ∑

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473 Ó . ¿Here!

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20 Pinocchio

94

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477 Œ ‰ r¿b r¿ ¿ ¿ r¿ r¿ ¿ ¿But my kind ness has its lim its

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480 jœœ## œœ œ œ‹ œ œ œ œ# œJœ œ œ Jœ



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43Pno.

484 jœœ# œœ œ œ# œ œ œ œ œJœ œ œ Jœ



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jœœ œœ œ œ# jœœ œœ œ œ‰ Jœ Jœœœn œœ.

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jœœ ..œœ jœœ ..œœŒ œœ.

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jœœ ..œœ∑

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21Pinocchio

95

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43

43

43

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44

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44

Fox

Cat

Pno.

489 ∑

∑489 ‰ Jœœ# Jœœ# œœb Jœœ#

..˙̇#

q = 80

q = 80

Pinocchio walks into an alleywith his newfound bag of coins.He stumbles accross the Fox and the Cat (who is pretending to beblind), as they are panhandling. ∑

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Œ œœ# œœ## œœb

jœb œœ# œœ Œ Œ

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86

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493 ∑

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493

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22 Pinocchio

Act I, Scene 3

96

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86

86

86

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Fox

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Pno.

497 œ œ œb œold, blind cat in

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44

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Pin.

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499 Œ œ# Œ jœ jœ jœ3

Hey! Aren't you the

499 œœœ## . œœœ. Œ Ó

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Jœ# jœ Rœ Rœ Rœ Rœ Jœ Jœb ŒFox and Cat that bought my school book?

∑

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23Pinocchio

97

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Fox

Cat

Pno.

501 Œ . Rœ rœ# .œ# Rœ RœNo! No! No! No! No!

‰ Rœ rœ ˙# Jœ JœNo! No! No! No! No!

501 ‰ Œ œ œ# .œ# œ œ

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panicked

panicked ˙b ÓNo!

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∑

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504 ‰ Jœ œ Jœ Jœ Jœ rœ# rœ œ œ3

You know, there are a lot of fox es

∑504 ww

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q = 80

jœ# Jœ. ≈ rœ œ# Œ .and cats out here!

∑

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∑œ# œ Rœ Rœ Rœ Rœ Jœ Jœ œ# ‰Ne ver know who you can trust out here!

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24 Pinocchio

98

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Fox

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Pno.

507 ‰ rœ rœ jœb jœ jœ œ Rœb œ œ Rœ3

I don't think that I should give a way my

∑

∑507 jœœœ ‰ Œ Ó

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Ó Jœb Jœ Jœ Jœ Jœ Jœ3 3

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∑

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Rœ Rœ œ Rœb Rœ œ œb Œgive a way all that mon ey,

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510 ‰ œb œ Jœ Jœb œ œ œ Jœ Rœ Rœ3

may be you'd be in ter es ted in an

510 wwwwwbbbbn

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in vest ment op por (a) tun i ty?

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- - - - - - - - -- -

25Pinocchio

99

&

&

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Pin.

Fox

Cat

Pno.

512 ‰ jœ .œ œ .œb œ# œnAn op por tun i ty

∑

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∑

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wwwww

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516 jœ# ‰ Jœ ‰ Jœ# ‰ jœ ‰One! Two! Three! Four!

516 ∑

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26 Pinocchio

100

&

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Fox

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Pno.

518 ∑

‰ Jœ# Jœ Jœ Jœ Jœ# Jœb œ3

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∑

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Jœ Jœ# Œ Ósand?

∑

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43

43

43

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44

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Pno.

522 Ó . Rœ# Rœ Rœ rœ#All you have to

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522 ˙̇ ‰ Rœ# Rœ Rœ rœ#www

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All you have to do,

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‰ Jœ Jœ Jœb ˙is take your coins

Ó ‰ Jœ Jœ Jœis take your

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27Pinocchio

101

&

&

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42

42

42

42

42

44

44

44

44

44

43

43

43

43

Pin.

Fox

Cat

Pno.

525 ∑

˙ ‰ Rœ# Rœ œto the field

˙# Ócoins

525 ˙ ‰ Rœ# Rœ œ

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∑

Jœ ‰ "‰ œ# œ# ˙3

of mi ra cles!

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mi ra cles!

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43

43

43

43

44

44

44

44

42

42

42

42

86

86

86

86

Fox

Cat

Pno.

529 ‰ Jœ Jœ# œb JœYes the field

‰ Jœ# Jœ œ Jœ#Yes the field

529 ‰ Jœœ# Jœœ# œœb Jœœ#

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‰ jœœ# ..˙̇

∑

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˙̇#

- -

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28 Pinocchio

102

&

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86

86

86

86

Fox

Cat

Pno.

533 ∑

∑533 ∑

œœœœb œœœœ œœœœ œœœœ œœœœ œœœœ

q. = 52

q. = 52

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∑

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œœœœb œœœœ

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Œ Jœ œb Jœthe field of

.œ Œ .

∑


- -

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Fox

Cat

Pno.

538 œb œb œ .œmi ra cles

Œ jœ Jœ Jœb JœWhere your dreams will

538 ∑


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Œ . Jœ œ .œAll rich es

œ Jœ .œcome true!

∑

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- - -

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29Pinocchio

103

&

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Fox

Cat

Pno.

543 ∑

Œ . œb œ JœBu ry your

543 ∑


œb . œ. œ. œ. œ. œ.Ah

œb Rœ rœ œ Jœcoins in the field of

œœbb . œœ. œœ. œœ. œœ. œœ.


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œ œ œ .œmi ra cles!œœ J

œœ œœ ‰

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Œ . Jœb jœ JœTurn your five

‰ œb . œ. ‰ œ. œ.


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547 œb . œ. œ. œb . œ. œ.

.œb .œb œ Jœcoins in to five

547 œœbb . œœ. œœ. œœbb . œœ. œœ.


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∑


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- -

-

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30 Pinocchio

104

&

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Fox

Cat

Pno.

551 ‰ œ œ œ .œmi ra cles!

‰ œb œ ‰ œ œThe The

551 œœ Jœœ œœ ‰

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554 Œ . œb œ jœBu ry my



554 ..œœbb ..œœ ..œœbb

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œ œ œ .œmi ra cles!

œ Jœ œ ‰

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œœ œœ ‰

œœœœb œœœœ

œœœœœœœœ

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Œ . jœb jœ jœTurn my five

‰ œb . œ. ‰ œ. œ.Ah Ah

Œ . Jœb jœ JœTurn your five

‰ œb . œ. ‰ œ. œ.


- - -

- - -

-

31Pinocchio

105

&

&

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89

89

89

89

89

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Fox

Cat

Pno.

558

.œb Jœb Jœ Jœcoins in to five

œb . œ. œ. œb . œ. œ.

.œb Jœb Jœ Jœcoins in to five

558 œœbb . œœ. œœ. œœbb . œœ. œœ.


œœœœ

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.œb .œ .œb


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∑

∑

∑

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- -

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&

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89

89

89

89

89

86

86

86

86

86

44

44

44

Pin.

Fox

Cat

Pno.

561 œ jœ ‰ œ œb œ .œfield of mi ra cles!

∑

∑561 ∑

œœb . œœ. œœ. œœœœœœ# >œœ. œœ. œœ. œœ. œœ.

∑

‰ Jœ Jœ Jœ Jœ Rœ RœYes we'll take you to the

‰ Jœ Jœ Jœ jœ Rœ RœYes we'll take you to the

∑

œœb . œœ. œœ. œœ. œœ. œœ.

∑

œ Jœ œ œ œfield of mi ra cles!

œ Jœ œ œ œfield of mi ra cles

∑

œœb . œœ. œœ. Œ .

∑

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.œU Œ .

∑

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- -

- -

- -

32 Pinocchio

106

&

&

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44

44

44

42

42

42

44

44

44

42

42

42

Fox

Pno.

565 Œ Rœ# ^ ‰ Rœ̂ ‰ Rœ̂ ≈ Œ/rr/ /rr/ /rr/

565

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f

Brisk! q = 112

Brisk! q = 112

*

The Ghost of Mr. Cricket

(offstage)

∑

∑

Jœœ## ‰ Œ

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∑

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&

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42

42

42

44

44

44

Fox

Pno.

568 ∑568 ∑

Jœœ## ‰ Œ


∑



∑

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&

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Fox

Cat

Pno.

571 Ó Jœ Jœœ#

What's that noise!

Ó Jœ Jœœ#

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571 œœ œœ Œ Ó3

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Fox ‰ Rœ Rœ œ œ ˙What's that aw ful noise!

‰ Rœ Rœ œ œ ˙What's that aw ful noise!

∑jœœœœ### ‰ Œ Œ ‰ jœœœœ

‰ Jœ Jœ Jœ œ# œ œU Œ3 3


‰ Jœ Jœ Jœ œ# œ œUŒ3 3


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- -

- -

33Pinocchio

107

&

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&

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42

42

42

42

Mr. C.

Cat

Pno.

574


∑574

Jœ# . ‰ Œ Ó


The Ghost of Mr. Cricket(running onstage)

q = 100

q = 100


∑

∑


Ó œ# œ Jœ#3Pi noc chi

∑

∑

œœ## œœ œœ# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

-- -

&

?

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42

42

42

42

44

44

44

44

42

42

42

42

44

44

44

Mr. C.

Cat

Pno.

577 ˙#o!

∑577 ∑

Œœœ œœbb œœbb œœnb œœ#b œœb

6

Œ . Jœ# ˙You fool!

∑

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Œ ‰ Jœ Jœ Jœ Jœ œb œ rœ3

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∑

œœb . œœ œœ œœ. Ó

œœb . œœ œœ œœ. Ó

œb œb Œtrick you?

∑

Œ . jœœœbbb

Œ œœbb >

-

34 Pinocchio

108

&

&

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44

44

44

Mr. C.

Pno.

581 Œ . rœ rœ jœ jœ œ œ œ3

If there was some ma gic al

581 œœœœ.Œ Ó

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Jœ Jœb œb œ œ œ œ œn œ rœ Rœ3

field that mul ti plied mon ey woul dn't they be

∑

∑

- - - - - -

&

&

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42

42

42

42

44

44

44

44

Pin.

Mr. C.

Pno.

583 ∑

˙ Órich?

583

œœœ# . œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ. œœœ## . œœœ. œœœ.∑




The Ghost of Mr. Cricket runs back offstage

Œ œ# Jœ Jœ œ# œ Jœ3

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∑

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∑

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∑

Œ . jœœœ#

Œ . Jœœœ#

-

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44

44

44

42

42

42

44

44

Pin.

Pno.

586 Œ Jœb Jœ Jœ Jœ œ œ œ3

There's no field of mi ra cles

586 œœœbb Œ Ó

œœœbb Œ Ó

Jœb Jœn Œis there?

Œ ‰ jœœœb

Œ ‰ Jœœœbb

- -

35Pinocchio

109

&

?

&

?

44

44

44

44

43

43

43

43

Fox

Cat

Pno.

588 ∑

‰ Jœb Jœ Jœ Jœ Rœ Rœ œ œ œ œ3

I fear he may be a lit tle brigh ter

588 jœœœbb ‰ Œ Ó

œœœnbb œb Jœ Jœ Jœ Rœ Rœ œ œ œ œ3

(to Fox)

∑

Jœn Jœb œ œ Œthan we thought!

Ó Œ œœb

Jœn Jœb œ œ œœœbggggggggggggg

(to Cat)Œ œ# Jœ Rœ Rœ Jœ JœYes, I thought that he was

∑

wwwwwn

- -

&

?

&

?

43

43

43

43

44

44

44

44

43

43

43

43

45

45

45

45

Fox

Cat

Pno.

591 œ# œ Jœ ˙3

dumb er as well!

∑591 ˙̇ œ œœ

˙̇̇ œ œœœ

∑

‰ Jœ Rœ Rœ Jœ œ Jœ œ# œ jœ3

I think that more dras tic mea sures may

ww#

www##

∑

œ jœ œ .œ œ3

be re qui red

˙̇ ‰ jœœ#

˙̇̇ ‰ Jœœœ##

-

- - - -

36 Pinocchio

110

&

?

&

?

45

45

45

45

42

42

42

42

Fox

Cat

Pno.

594 ‰ Rœb Rœ Jœ Jœ œb œ Jœ œb œ œ œ3

Do you think such mea sures are ne ces sa ry

∑594 wwwbb œœœ œœœ.

wwwb œœœ œœœ.

∑

‰ rœ rœ rœ rœ .jœ rœ œ jœb jœ jœ jœ3

I don't think it counts as mur der if they're a

jœœœœ ‰ Œ Ó Œ

Jœœœ ‰ Œ Ó Œ

- - - -

-

&

&

?

&

?

42

42

42

42

42

44

44

44

44

44

Pin.

Fox

Cat

Pno.

596 ∑

∑

œ œ Œpup pet!

596 Œ ‰ jœœœ

Œ ‰ Jœœ

∑

‰ Jœb Jœ Jœ Jœb Jœ Jœ œ œ3

Last chance to give us that mon ey!

∑

...˙˙˙bb œœœ œœœ..˙̇b œœ œœ

(to Pinocchio)Pulling out a knife

Œ jœ jœ ˙#No! No! No!

∑

∑jœœœb ‰ jœ jœ .œ# jœœ

Jœœb ‰ Œ Œ ‰ Jœœ

-

-

37Pinocchio

111

&

&

?

84

84

84

83

83

83

84

84

Fox

Pno.

599 ‰ Rœb Rœ Jœ Jœ .Jœ Rœb œbThen I guess it's time to die!

599 jœœœœbb ‰ Œ Ó

Jœœœb ‰ Œ Ó

œ Œ

˙bjœœ jœœ ..œœ œœ

Presto q = 150

Presto q = 150

∑

˙jœœ jœœ ..œœ œœ

∑

∑

œœ œ. œ.

&

?

84

84

83

83

84

84

83

83

84

84Pno.

603 ˙njœœ jœœ ..œœ œœ

˙jœœ jœœ ..œœ œœ

∑

œœ œ. œ.

Jœœœb J

œœœ ...œœœ œœjœœœb ...œœœ

Jœœœb J


œœœb œœœ œœœb

œœœb œœœ##n ‰2

&

?

84

84

83

83

84

84

83

83Pno.

609

Jœœœb J


Jœœœb J


œœœbbb œœœ œœœ#

œœbbgggg œœnn œœb

œœœn . œœœ. œœ. œœ# .

œœ#n . œœ. œœbb . œœ.

œœœ. œœœ. œœ. œœ# .

œœ. œœ## . œœnn . œœbb .

&

?

83

83

84

84

83

83

84

84Pno.

614 ...œœœ œœœbb œœœ#

..œœnn œœb œœ#n

œœœ### . œœœnnn ...œœœ œœœ###

jœœ## . œœnnjœœ#

...œœœ œœœ Jœœœ# .

Jœœœ.

œœnb œœn œœbbjœœ.

....œœœœ#b > ....œœœœ#b >

...œœœbbn > ...œœœnb >

f

38 Pinocchio

112

&

?

84

84

83

83

84

84

83

83Pno.

618 jœn jœ> .œ œjœœ jœœ ..œœ œœn

Pjœ jœ> .œ œbjœœ jœœ ..œœ œœb

.œn >œœ œœ œœ

..œœ#f

jœn jœ> .œ œjœœ jœœ ..œœ œœn

Pjœ jœ> .œ œœb

jœœ jœœ ..œœ œœ#

&

?

83

83

84

84

83

83

84

84Pno.

√623 ..œœb

>œœbb œœ œœ

..œœnb >

fjœb >

jœ .œ œ

jœœ jœœ ..œœ œœb

œœœ# œœœ œ

œ œb œ œ œ œ

œœœ## ≈ œ œ œ

œ œ œ œ ‰f π

&

?

84

84Pno.

(√)627 œœœn# . œœœ. œœ. œœ.

œœ. œœ. œœbb . œœ.œœœn# . œœœ. œœ. œœ.

œœb . œœ#n .Jœœnn .

Jœœbb .

...œœœb œœœbbn œœœ# . œœœbbn >

..œœnn œœbb œœnn . œœ>

&

?Pno.

630 œœœ# .œœœ. œœb . œœn .

œœ. œœ.jœœbb .

jœœ.

œœœ# .œœœ. œœb . œœn .

œœbb . œœnn .jœœNb .

jœœbb .

...œœœb œœœnbn œœœ# . œœœbbn >

..œœnn œœbbjœœnn .

jœœb >

jœ# jœ# .œ œjœœ# jœœ ..œœ œœ#

F

&

?

83

83

84

84Pno.

634

.œ# œ# .œ œjœœ# jœœ ..œœ œœ

.œ# œœ## œœ œœ

..œœ##f

œœœ# . œœœ. œœn . œœ# .

œœ# . œœ. œœbb . œœ.p

39Pinocchio

113

&

?

83

83

84

84

83

83Pno.

637

œ# œ# .œ œ

Jœœ#n Jœœ ..œœ œœ#F œ# œ# .œ œn

Jœœ#n Jœœ ..œœ œœbb

..œœœœnn œœ œœ

..œœbf

œœœbb œœœ œœ œœnb

œœbb œœœœ œœ

p œ# œ# > .œ# œn >

œœ## œœ> ..œœ œœb >F

&

?

83

83

82

82Pno.

642 œœœ#n œœœ œn

œ œœ# œœ

œœœn œœœ œb

œn œœb œœ

...œœœb œb

œb œœb

...œœœ### œ

œ>œ>

&

?

83

83

84

84Pno.

√646 ...œœœ#n œn

œ>œ>

..œœn œb

œ>œ>

œœœb œ> œ œ œ

jœœbb‰ ‰

œb > œb œ œb œn > œ œ# œn

∑

Police Whistle

&

?

44

44Pno.

650 ∑œ> œ œ# œ œb > œ œ œn

∑

œb > œb œ œb œn > œn œ# œn

&

?

44

44Pno.

652 ∑

œœ# œœ ..œœ œœ œœ œœ ..œœ œœ

As the Policeman enters, the Fox and Cat abruptly give Pinocchio their knivesto imply that he was the one attacking them. ∑

ww##

∑

œœ# œœ ..œœ œœ œœ œœ ..œœ œœ

40 Pinocchio

114

?

&

?

86

86

Police.

Pno.

655 ∑

655 ∑

ww##

Policeman‰ jœ# .Jœ rœ .œ Jœ#What seems to be the

∑

jœœ## ‰ Ó .

q = 96

q = 96

œ œ# œ Óprob lem here?

Ó œ# œ ≈ œ# œ# œ#

Ó œœœ## ˘ œœœ# ≈ œ# œ œ

-

&

?

&

?

86

86

86

86

Fox

Cat

Pno.

658 œ œ# œ Jœ œ œ œ ‰Of fi cer oh, of fi cer!

œ œ# œ Jœ œ œ œ ‰Of fi cer oh, of fi cer!

658 œœ œœ## œœ œœ# œœn œœ œœ# œœ

Jœœ. ‰ ‰ jœœ## ‰ ‰

Jœ# Jœ# Jœ Jœ Jœ# JœWe're so glad that you

jœ# Jœ# Jœ Jœ Jœ# JœWe're so glad that you

Jœœ# Jœœ## Jœœ# Jœœ Jœœ Jœœ

Jœœ. ‰ ‰ jœœ## ‰ ‰

Jœ œ# œ# œ ‰'ve ar rived!

Jœ œ# œ# œ ‰'ve ar rived!

Jœœ œœ‹# œœœ## œ .œ œn

Jœœ. ‰ ‰ jœœ## ‰ ‰

- - - -

- - - -

- -

- -

41Pinocchio

115

&

?

&

?

89

89

89

89

86

86

86

86

Fox

Cat

Pno.

661 œ œ# œ Jœ œ œ œ ‰Of fi cer oh, of fi cer!

œ œ# œ Jœ œ œ œ ‰Of fi cer oh, of fi cer!

661 œœ œœ## œœ œœ# œœn œœ œœ# œœ

Jœœ. ‰ ‰ jœœ## ‰ ‰

Jœ# Jœ# Jœ Jœ# œ œ# Jœ œ JœPlease get this mad chi ld a way from

jœ# Jœ# Jœ Jœ# œ œ# Jœ# œ JœPlease get this mad chi ld a way from

Jœœ# Jœœ## Jœœ# Jœœ Jœœ Jœœ œœœœ# œœœœ œœœœ

Jœœ. ‰ ‰ jœœ## ‰ ‰ œœ

jœœ

Jœ ‰ ‰ Œ .us!

Jœ ‰ ‰ Œ .

Jœœœœ## ‰ ‰ Œ .œœ œœ## œœ œœ# œœn œœ œœ# œœ

- - - -

- - - -

- -

- -

&

?

44

44Pno.

664 ∑œœ# œœ## œœ# œœ œœ œœ œœ œœ

∑œœ œœ## œœ œœ# œœn œœ œœ# œœ œœ œœ# œœ

∑œœœœ# œ œ# œ œ œ œ œ œ œ œ œ œ œ œ

rit. ∑

œ œ# œ œ .˙#

?

&

?

Police.

Pno.

668 ‰ ≈ Rœ# œ ‰ Jœb jœb ‰Let's see! One boy,

668 ∑

œœ

#.

Œ Ó

a tempo

a tempo

‰ Jœb jœb ‰ .œ# JœTwo knives, Two poor

∑

∑

œ œ .œ Œ Jœb Jœ Jœ3

an i mals! This seems to

∑

Œ . jœœœ# œœœb Œ

- -

42 Pinocchio

116

&

?

&

?

Pin.

Police.

Pno.

671 ∑

Rœb œ œ .œ œ jœ Jœ œUbe e nough e vi dence for me!

671 ∑

∑

short

Œ . Jœ# ‰ jœ# œ œ JœWait! This does n't make

∑

jœœœ### œœœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœœœœ## œœœ œœ##

jœœœœœ jœœ

q = 80

q = 80

q = 80

‰ rœ# Rœ# œ ‰ Jœ œ œ œ œa ny sense! I did 'nt e ven

∑

œ# œ‹ œ œ œ œ œ œ œ# œJœ# œ Jœ œ œ œ#jœœ


- - -

- - - -

&

?

&

?

Pin.

Police.

Pno.

674

Jœ# jœ# Œ Ódo it!

∑

674 jœœ## œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœœœœ## œœœ œœ##

jœœœœœ jœœ

∑

‰ Jœ# œ œ# Jœ œ# Œ3

Don't ar gue with me

œ# œ‹ œ œ œ œ œ œ œ# œJœ# œ Jœ œ œ œ#jœœ


∑

Œ jœ jœ jœ Jœ jœ Jœ jœ Jœ3 3

You broke the law and now you will

jœœ œœ œ œ# œ œ œ œ œJœ Jœ œ Jœœœœ œœœ œœ

jœœœœœ jœœ

-

43Pinocchio

117

?

&

?

Police.

Pno.

677 .Jœ Rœ ˙ Œgo to jail!

677 œ œ# œ œ œ œ œ œ œ œJœ œ Jœ œ œ œ#jœœ

œœœ jœœ œœœœœ œœœ#

Œ rœ rœ rœb rœ ˙bYou will go to jail!

jœœb œœ œ œ œ œ œ œ œJœ Jœ œ Jœœœœbb œœœ œœbb J

œœœœœ

Jœœ

Ó ‰ jœ Jœb jœ Jœn3

Now please come with

œ œ œ œ œ œ œ œ œb œJœb œ Jœ œ œ œ

Jœœ

œœœbbJœœbb œœ

œœœ œœœ

?

&

?

Police.

Pno.

680 wme!

680 jœœ# œœ œ œ# œ œ œ œ œJœ Jœ œ Jœœœœ# œœœ œœ J

œœœœœ

Jœœ

w

œ# œ# œ œ œ œ œ œ œ œJœ œ Jœ Jœ œ Jœ

Jœœ

œœœ#Jœœ œœ

œœœ œœœ#

Jœ ‰ Œ Ó

œ# œ# œ .˙œ œ ..˙̇œœœ# ...˙̇̇#Ó ˙#

∑

œ# Œ Ó

œœ## Œ Ó

44 Pinocchio

118

&&

&

&

?

44

44

44

44

44

Pinocchio

Mr. Cricket

The Blue Fairy

∑∑

∑

œœ Œ œœ œœŒ œ Ó

q = 80

∑∑

∑

œœ Œ Œ œœŒ œ Ó

∑∑

∑


∑∑

∑


∑∑

∑


&

&

?

43

43

43

Pin.

689 ∑689


∑

œœœ Œ œœœ œœœŒ œ Ó

∑

œœœ Œ Œ œœœœŒ œ Œ œ

Œ ‰ " jœ œ jœ# ‰Well this sucks!

œœœ Œ Ó

œœŒ Ó

‰ rœ# rœ jœ rœ rœ jœ# jœ œ œPut in jail for a crime I did 'nt

∑

∑

-

&

&

?

43

43

43

44

44

44

Pin.

694

œ œ jœ ˙3

e ven com mit!

694 œ œ œ ˙̇̇3

Œ ...œœœ

ggggggggggggggggjœœœ##

‰ œ# œ œ œ œ œ jœThis must be the worst thing to

wwww##

wwwn#

œ œ jœ œ œ jœ# ‰ jœ .œ œhap pen to an y boy in his to

˙̇̇˙ Ó

˙̇̇ jœœ‰ Œ

˙ œ Œry

Ó œœœ œœ œœ œœ œœ3

wwwwgggggg

- - - - - -


©

Score

Act I, Scene IV

119

&

&

&

?

Pin.

Mr. C.

698 ∑

∑698

jœœ ˙̇̇ ˙̇˙˙bb

wwww

‰ jœ jœ rœ rœ œ œ Jœ œ œ3

The worst thing to hap pen in the

∑

wwwwb

wwwwb

ggggggggggggggggg

Jœ ‰ Œ Ówor(ld)

˙b Jœ ‰ Œ/rr/

jœœœœœb ‰ Œ Ó

jœœœœœb ‰ Œ Ó

Interrupted ∑

˙b Jœ ‰ Rœ Rœ Jœn/rr/ Here he

∑

∑

-

&

&

&

?

Pin.

Mr. C.

702 ∑

Ó . ‰ JœI

702 jœœ## œœ# . œœ. Œ Ó



Mr. Cricket enters

∑

Rœ Rœ Rœ Rœ Jœ# Jœ# Œ . Jœtold you I could find him! But

jœœ## œœ# . œœ. Œ Œ ‰ œœ œœ


∑

Jœ Jœ Jœ .Jœ rœ# ˙#3

now I shall take my leave!

œœ# . œœ. Œ Ó


2 Pinocchio

120

&

&

&

&

?

42

42

42

42

42

44

44

44

44

44

Pin.

Mr. C.

Blue F.

705 ∑

Œ rœ# rœ œ ‰ " jœ jœIn the past we've had

∑705 jœœ## œœ# . œœ. Œ Ó

œ œ Œ Ó

rit. ∑

‰ œ œn Œiss ues

∑

∑

œœ>‰ J

œœ

∑

∑

∑

Œ ‰ œœ# œœ# Jœœ œœ œœ# œœ#

œœ œ œ œ# œ# œœ œœ## œœ##3

∑

∑

Œ ‰ jœ .œ JœPi noc chi

wwwwnnnngggggggggggggggg wwwwnnn

Slower q = 72

- - -

-

&

&

&

&

?

45

45

45

45

45

44

44

44

44

44

Pin.

Mr. C.

Blue F.

709 ∑

∑

œ Œ jœ Jœ œ œ Jœ3

o, I've been look ing for

709 wwwwwwww

∑

∑

˙ ‰ Jœ Jœ Jœ Jœ œ3

you! The boy made of wood

wwww Œ

www Œ

∑

∑œ ˙ ‰ jœ

Pi

wwwwwwgggggÓ ˙̇˙˙#

∑

∑

.œ Jœ œ ‰ jœnoc chi o What's

wwwww

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3 3

- - - -

3Pinocchio

121

&

&

&

&

?

Pin.

Mr. C.

Blue F.

713 ∑

∑

œ œ œ œ .Jœ Rœ .œ Jœbe come of you?

713 ˙̇̇̇ ˙˙˙˙˙

˙̇̇ œœœ œœœœ œœœœ œœœœ3 3

∑

∑

wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœœ œœœ œœœ

3 3 3 3 3 3 3 3

wwww#

-

&

&

&

&

?

Pin.

Mr. C.

Blue F.

715 ∑

∑

‰ Jœ Rœ Rœ Rœ Rœ Jœ .œYou said you'd be a good

715 wwwwb

www

∑

∑

.˙ ‰ Jœboy. You

wwwwwwwwwwn

∑

∑

Jœ .Jœ Rœ Jœ œ œsaid you'd be a good

wwwwwwwwww

∑

∑

.œ Jœ ˙boy!

œœœœœ œœœœœ œœœœ ˙̇˙˙˙˙3

wwww

4 Pinocchio

122

&

&

&

&

?

Pin.

Mr. C.

Blue F.

719 ‰ ‰ Œ Ó

∑

Œ Jœ œ œ Rœ Rœ œ œ Rœ Rœ3

Re mem ber when you wan ted to be

719

Jœœœœœ ‰ Œ Ó

Jœœœœ ‰ Œ Ó

∑

∑

œ œ ˙a real boy?

∑

∑

∑

∑

∑

jœœ œœ œ œ ..œœ jœœœ˙̇̇ ˙̇̇̇

- - -

&

&

&

&

?

42

42

42

42

42

44

44

44

44

44

Pin.

Mr. C.

Blue F.

722 Œ jœ jœ rœ rœ rœ Rœ œYes, I want to be a real

∑

∑722 www

www

œ ‰ jœ Jœ Jœ Jœ œ œ œ3

boy, but how am I sup posed to

∑

∑

œœœ ...˙̇̇

œœœ ....˙̇̇̇

.Jœ Rœ Jœ Jœ ˙do that from this cell?

∑

∑

˙̇̇ ˙̇̇

˙̇̇̇ ˙̇̇

∑

∑

Œ . jœPi

˙̇˙˙...œœœ J

œœœ

-

-

5Pinocchio

123

&

&

&

&

?

44

44

44

44

44

Pin.

Mr. C.

Blue F.

726 ∑

∑

.œ Jœ ˙noc chi o,

726 wwwwww

∑

∑

‰ rœ Rœ Jœ Jœ œ œI can take you from this

wwwwwww

∑

∑

˙ œ Œplace!

www...˙̇̇ œœœ

∑

∑

‰ rœ Rœ Jœ Jœ œ œ œ œI can take you from this

www˙˙˙̇ œœœœ œœœœ œœœœ

3

- -

&

&

&

&

?

Pin.

Mr. C.

Blue F.

730 ∑

∑.˙ Œ

place!

730 wwwwww ‰ Jœ˙̇̇ œœœœ œœœœ

∑

∑

Ó ‰ Rœ Rœ œ œAll you have to

.œ Jœ œ Œ

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ3 3

∑

∑

˙ ‰ Jœ Jœ Jœdo is be a

œ œ œ œ œ ˙3

œœœ œœœ œœœœ œœœœ œœœœ3

∑

∑

˙ ˙good boy!

‰ Jœ œ œ œ œ œ3

˙̇˙˙ œœœœ œœœœ œœœœ œœœœ3 3

6 Pinocchio

124

&

&

&

&

?

43

43

43

43

43

44

44

44

44

44

Pin.

Mr. C.

Blue F.

734 ∑

∑

‰ Jœ Rœ Rœ Rœ Rœ ˙Then you can be a real

734 œ ‰ jœ .œ Jœ

˙̇̇ œœœœ œœœœ œœœœ3

∑

∑

˙ Œ . Jœboy! A

œ ‰ jœ œ œ œ œ .œ œ

˙̇˙˙ œœœœ œœœœ œœœœ3

∑

∑.˙ œ

real boy

.œ œ œ .œ Jœ

www

∑

∑

˙ Œ

....˙̇̇̇

...˙̇̇

&

&

&

&

?

44

44

44

44

44

42

42

42

42

42

44

44

44

44

44

Pin.

Mr. C.

Blue F.

738 ∑

∑

Ó . Jœ Jœ Jœ3

But there's a

738 wwwwwwwwwgggggg

∑

∑

˙bcatch!

∑

Œ œœb œœb œœb œœ œœ œœb3 3

Œ jœ jœ jœ ˙3

What kind of catch?

∑

Ó Ó

w

www

∑

∑

‰ Jœ Jœ Jœ Jœ ˙b3

(Let's try it out now)

w

www

7Pinocchio

125

&

&

&

&

?

Pin.

Mr. C.

Blue F.

742 ∑

∑

‰ jœ# .Jœ# Rœ# œn ŒPi noc chi o!

742 jœ# ‰ Œ Ó

Jœœœœ#### ‰ Œ Ó

∑

∑

‰ Jœ œ œ Rœ Rœ œ œ# ‰ ŒWhat hap pend to that mon ey?

∑

∑

hiding the bag of coins

- - - - -

&

&

&

&

?

43

43

43

43

43

44

44

44

44

44

Pin.

Mr. C.

Blue F.

744 Œ rœb rœ jœ jœ jœ œb œ Jœ3

I don't know what you're talk ing a

∑

∑744 ∑

∑

œ# Œ Œbout!

∑

∑

∑

Œ œœ## œœ œœ# œœ#n œœ# œœ# œœn œœ# œœ#n œœ# œœ# œœn3 3

3 3

Pinocchio's nose grows a little!- -

8 Pinocchio

126

&

&

&

&

?

44

44

44

44

44

43

43

43

43

43

Pin.

Mr. C.

Blue F.

746 ∑

∑

Œ Jœ# jœ# .Jœ œ œ JœAre you sure a bout that?

746 jœœ## ‰ Œ Ó

Jœœœ## ‰ Œ Ó

Amused

Œ œ œ# .œ# œ œYes I'm sure a bout

∑

∑

∑

œœœ œœœ# Œ Ó

-

-

&

&

&

&

?

43

43

43

43

43

44

44

44

44

44

Pin.

Mr. C.

Blue F.

748 œ# Œ Œthat!

∑

∑748 ∑

Œ œœ‹# œœ# œœ# œœ## œœ#‹ œœ‹ œœ#n œœ# œœ## œœ‹ œœ# œœ#n3 3

3 3

Pinocchio's nose grows even more!

Ó œ# œWhat's so

∑

∑

∑

Jœœœ## ‰ Œ Ó

(laughs)

9Pinocchio

127

&

&

&

&

?

Pin.

Mr. C.

Blue F.

750 œ# .œ Œ Ófun ny?

∑

Ó Rœ Rœ jœ œ# œLook at your nose!

750 Ó Ó

‰ Jœœœ## œœœnn . Ó

Œ rœ# rœ œ# rœ rœ Jœn Rœ RœNo! No! No! Put it back! Put it

∑

∑

œ œ# Œ Ó

œœœnn . œœœ## Œ Ó

-

&

&

&

&

?

Pin.

Mr. C.

Blue F.

752 .Jœ# Rœ Jœ# Jœ œn Œback, the way it was!

∑

∑752 ∑

Ó Œ œœœ## œœœœ#n#

∑

∑

‰ Rœ œ œ œ œ JœIt on ly grows when you

∑

∑

∑

∑

˙ ‰ " Jœ Jœ Jœ Jœ3

lie! So what hap pend

∑

∑

- -

10 Pinocchio

128

&

&

&

&

?

Pin.

Mr. C.

Blue F.

755 ∑

∑

.œ œ œ œ ÓUto that mon ey?

755 ∑

∑

Pinocchio begrudgingly hands her the bag of coins ∑

∑

∑

Œ œœ# œœ# œœ œœ# œœ# œœ ˙̇n6œœ# œœ# œœ œœ# œœ# œœ ..˙̇n

6

Pinocchio's nose shrinks back

rœ rœ rœ Rœ Jœ jœ ˙#Can I be a real boy now?

∑

∑

jœœn ‰ Œ Ó

Jœœ ‰ Ó ‰ Jœœœ#

-

&

&

&

&

?

Pin.

Mr. C.

Blue F.

758 ∑

∑

‰ rœ œ œ Rœ Rœ Rœ Jœ Jœ rœ rœ JœNot un til you go to school and be a good

758 ∑

Jœœœ ‰ Œ Ó

∑

∑

˙ Óboy!



∑

∑

∑

jœœnn œœ œ œ# jœœ œœ œ œJœ Jœ


-

11Pinocchio

129

&

&

&

&

?

Pin.

Mr. C.

Blue F.

761 ∑

∑

∑761 jœœ œœ œ œ# œ œ œ œ œJœ œ œ œb


∑

‰ Jœb .œ œb œ ‰ Rœ RœPi noc chi o! I have

∑

wwbbww

∑

Jœb Jœ .Jœ Rœ œn Œbad news I'm a fraid!

∑

wwww

‰ jœ ˙# ŒWhat news?

∑

∑

jœœ ‰ Œ Œ ‰ jœœjœœ ‰ Œ Œ ‰ jœœ

- - - -

&

&

&

&

?

Pin.

Mr. C.

Blue F.

765 ∑

‰ Jœ œ œ ‰ . œ œ œYour fa ther Gep pet to,

∑765

wwww

∑

‰ Jœ œ œ Jœ Jœ Jœ œ3

was wor ried where you had gone

∑

∑

∑

∑

‰ Rœ Rœ Rœ œ œ jœ .œ#and he went look ing for you

∑

∑

∑

∑

‰ jœ œ œ jœ Jœ jœ œand no one has seen him since...

∑

∑

∑

- - - - -

12 Pinocchio

130

&

&

&

&

?

Pin.

Mr. C.

Blue F.

769 ∑

∑

∑769 jœœb œœ œ œ jœœ œœ œ œ

wwwbb

∑

∑

∑

jœœb œœ œ œ ˙̇

www

∑

∑

∑

jœœb œœ œ œ ˙̇

www

∑

∑

∑

wwwwww

∑

∑

∑

ww∑

13Pinocchio

131

&

V

&

?

# # # #

# # # #

# # # #

# # # #

44

44

44

44

86

86

86

86

44

44

Mezzo-Soprano

Tenor

Piano

∑

∑

∑

œ œ œ œ œ œ œ œ

q = 104

∑

∑

∑


∑

∑

∑

œ œ œ œ œ œ

&

?

# # # #

# # # #

44

44

42

42

44

44Pno.

4 jœœ œœ œœ œ‹ œœ œ œœ œœ œ


jœœ œœ œœ œ‹ œœ œ œœ œœ œœn

œ œ œ œ œ œ œ œ œ

∑


&

?

# # # #

# # # #

44

44

42

42

44

44Pno.

7 jœœ œœ œœ œ‹ œœ œ œœ œœ œ


jœœ œœ œœ œ‹ œœ œ œœ œœ œœn

œ œ œ œ œ œ œ œn

jœœœn ‰ Œ

œ œn œ œ œ œ3 3

PinocchioAaron Hunt

©

Score

Act II, Scene I

132

&

?

# # # #

# # # #

44

44Pno.

10 œœ œœ œ‹ œœ œœ œ œœ œ œœ œœ œœ

œ œ œ œ œ œ œ œJœœœ ‰ Œ Ó


∑


&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

13 ‰ rœ rœ jœ jœ jœ .œ Jœ3

It's my first day of school

13 ∑


‰ rœ rœ jœ jœ jœ .œ‹ Jœ3

It's my first day of school

∑


&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

15 ‰ rœ rœ œ œ œ Jœ jœ Jœ œ‹ œ3 3

It's my ac tu al first day of school!

15 ∑jœœ ‰ Œ Ó

- -

2 Pinocchio

133

&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

16 œ Œ Ó16 jœœ œœ œœ œ‹ œœ œ œœ œœ œ


∑

œœ œ‹ œœ œœ œ œœ œ œœ œœ œœn

œ œ œ œ œ œ œn œn

Œ jœ jœ œ jœ jœAnd I'll learn how to

..œœ jœœ œœ œœ œœ jœœ


&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

19 .œ jœ œ œfind my fa ther.

19 jœœ œœ œœ œœ œœ œœ œœ jœœ


‰ jœ œ .œ œ .œ œI'll learn how to sail the

..œœ jœœ œœ œœ œœ jœœ


œ œ ˙ ‰ jœsev en seas! And

jœœ œœ œœ œœ œœ œœ œœ jœœ


- -

&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

22 œ œ œ .œ œ .œ œthen I'll have all the tools I

22 jœœ œœ jœœ jœœ œœ jœœ


.œ œ œ œ ‰ jœ#need to find him, where

jœœ œœ jœœ œœ œœ œœ œœ‹n


œ œ œ œ‹ev er he may

œ œ œ œ œ œ œ œ œ œ œ‹ œ3 3 3 3


- -

3Pinocchio

134

&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

25 œ œ ˙be!

25 ..˙̇ ‰ œœ œ‹


∑



Candlewick enters - Pinocchio does not see him‰ rœ rœ œ œ ‰ rœ rœIt's the first day and I'll

∑

œ œ ‰ œ œ œ ‰ œ

&

?

# # # #

# # # #

Mezzo

Pno.

28 jœ jœ œ œ‹ jœ rœ rœ œ Jœmake so ma ny friends by the end of


jœ ‰ Œ Óit!


‰ œ‹ œ œ œ œ œ œA friend who's brave and strong and

œ œ ‰ œ œ œ ‰ œ-

&

V

&

?

# # # #

# # # #

# # # #

# # # #

42

42

42

42

44

44

44

44

Mezzo

T

Pno.

31 jœ Jœ œ œ‹ œ œ ‰ Jœcool and fun ny like like

∑31 ∑


Œ j¿ ‰ Ólike...

∑

∑

œ œ ŒU ‰ œ œ œ

Pinocchio stops, at a loss forwords, realizing that he doesnot actually know anyone tomake an accurate comparisonto. ∑

Œ œLike

∑

Œ . Jœ

∑

˙ Óme?

jœœ œœ œœ œ‹ œœ œ œœ œœ œ


-

4 Pinocchio

135

V

&

?

# # # #

# # # #

# # # #

T

Pno.

35 ∑35 œœ œ‹ œœ œœ œ œœ œ œœ œœ œœbn


Ó . œThe

jœœœbnb ‰ Œ ÓU

Jœn ‰ Œ ÓU

Pinocchio looks at Candlewick, ratherunimpressed... Œ œ œ œ‹ œ ‰ jœ

name's Can dle wick and

∑


- -

V

&

?

# # # #

# # # #

# # # #

T

Pno.

38 œ œ‹ Œ jœ Œ .I'm the the...

38 ∑


Candlewick looks aroundto make sure no one else is around to hear his lie Ó Œ ‰ jœ‹

the

∑

‰ œ ‰ œ œ œ

.œ œ jœ jœ jœ ˙3

cool est kid in this school!

∑

∑

-

&

V

&

?

# # # #

# # # #

# # # #

# # # #

Mezzo

T

Pno.

41 Ó . ‰ jœThe

Jœ ‰ Œ Ó41 jœœ œœ œœ œ‹ œœ œ œœ œœ œ


.œ œ jœ jœ jœ œ œ Œ3

cool est kid in this school?

∑



-

5Pinocchio

136

V

&

?

# # # #

# # # #

# # # #

45

45

45

T

Pno.

43 ‰ jœ .jœ rœ œ œ‹ jœ rœ rœ œ œThat's me the cool est guy that you'll ev er

43 ∑


jœ ‰ ‰ jœ œ œ‹ œ .œ rœmeet! The tough est fight er on

∑


- - - -

V

&

?

# # # #

# # # #

# # # #

45

45

45

44

44

44

T

Pno.

45 œ œ‹ œ ‰ jœ œ œ œ# œ œn œ#an y street! Tru ly the best guy in the

45 ∑

œ œ ‰ jœ œ œ ‰ jœ œ œ

.˙ Œworld!

jœœ œœ œœ œ‹ œœ œ œœ œœ œ


- -

V

&

?

# # # #

# # # #

# # # #

T

Pno.

47 ∑47 œœ œ‹ œœ œœ œ œœ œ œœ œœ œœn


‰ rœ rœ jœ jœ‹ œ œ œ œI'm the guy who's cool and tough and

∑


rœ rœ Jœ jœ‹ jœ Œ œas you'll soon see so

∑


Pinocchio and Candlewick walk into school with eachother

6 Pinocchio

137

V

&

?

# # # #

# # # #

# # # #

..

..

..

..

..

..T

Pno.

50 Jœ ‰ Œ Ósmart!

50

Jœœœ ‰ Œ Ó

œ œŒ Ó

∑

œ# . œ. œ. œ# . œ# . œ.3

3

∑F

Painfully Boring q = 72 ∑

œ# . œ. œ. œ# . œ# . œ.3

3

∑

x5

∑

jœ œœn œœ œ œœ œ œœ œœ# œœnn

∑

&

&

?

# # # #

# # # #

# # # #

Mezzo

Pno.

54 Œ rœ œ œ rœ œ œ rœ .Jœ rœSchool's a lot hard er than I thought it'd

54

œ. Œ Ó

œœ. Œ Ó

œ ‰ jœ jœ jœ œ œn œbe! At this rate I'll ne ver

∑

∑

.œ jœ jœ# Œ jœfind my dad... At

∑

Ó œœ. Œ

- -

&

V

&

?

# # # #

# # # #

# # # #

# # # #

42

42

42

42

44

44

44

Mezzo

T

Pno.

57 jœ jœ jœ œ œ œ œ Œ3 3

least there's some more af ter lunch!

∑57 ∑

Ó . œœ

∑

‰ jœ# œ Œ œ œn œ3

Oh joy... more af ter

∑

œœ# . Œ Ó

∑

œ Œlunch...

∑

Œ œœœn

-

-

7Pinocchio

138

V

&

?

# # # #

# # # #

# # # #

44

44

44

T

Pno.

60 Œ jœn jœ jœ jœ Jœ œ3

(I can't go back in there)

60 ∑

œœœnn . Œ Ó

‰ jœ œ œ œ œ .œ œ# œn3

(I def in ite ly failed that test!)

∑

∑

- - -

V

&

?

# # # #

# # # #

# # # #

42

42

42

44

44

44

T

Pno.

62 Œ jœ jœ jœ œ œ œn œ3

(Can't let him know I'm not that

62

œœn œœ Œ Ó

œœ œœŒ Ó

œn Œsmart!

Œ ‰ jœn

Œ ‰ jœœœnnn

Œ .jœ rœ œ jœ jœ ‰3

Hey Pi noc chi o

œ. Œ Ó

œœœ. Œ Ó

timidly

- - -

&

V

&

?

# # # #

# # # #

# # # #

# # # #

Mezzo

T

Pno.

65 ¿ Œ ÓHm?

Œ ‰ jœ œ œ jœ jœ jœn3

I think I know where your

65 ∑

∑

∑

œn œ œ jœ ‰ Œ Œ3

fa ther might be.

Ó Œ œœn .Ó œœ œœbb œœnn œœnn œœ# œœ## œœnn .

3 3

excited and hopefull

-

8 Pinocchio

139

&

V

&

?

# # # #

# # # #

# # # #

# # # #

42

42

42

42

44

44

44

44

166

166

166

166

Mezzo

T

Pno.

67 ‰ . rœ œ ‰ . rœ œYou do? Where is

∑67

œœ# . Œ Ó

œœœ# . Œ Ó

Jœ ‰ Œhe?

∑

Œ œœ# .Œ œœœ# .

∑

Œ . jœ Œ jœ jœ jœ3

Um... He's at the

œœ. Œ Ó

œœœ. Œ Ó

Noticing a sign for "The Toyland Circus"

∑

œ œ Œ jœ .œ œ œ3

cir cus! The Toy Land Cir

∑

∑

- -

&

V

&

?

# # # #

# # # #

# # # #

# # # #

166

166

166

166

nnnnb

nnnnb

nnnnb

nnnnb

44

44

44

44

Mezzo

T

Pno.

71 ∑

Jœ ≈ ‰ .cus!

71 œœ# œœ œœ œœ

œ ‰ œ

Œ jœ jœ jœ œ œ jœ ‰ . rœ3

What are we wait ing for? Let's

∑

jœœ ‰ Œ Ó

jœ ‰ Œ Ó &

œ Œ Ógo!

∑

∑

jœœ œœ œœ œ# œœ œ œœ œœ œ

-

&

&

b

bPno.

74 ∑

œœ œ# œœ œœ œ œœ œ œœ œœ œœb

œ œ œ# œ œ œn


œb œ œn œ


9Pinocchio

140

&

&

b

bPno.

77 œ œ# œ œ# œ œ


œ œn œb œ œb œ


&

&

b

bPno.

79 œ œ œ# œ œ œn


œb œ œn œ

œœ œ# œœ œœ œ œœ œ œœ œœ œœb ?

www

ww

10 Pinocchio

141

&?

V&?

44

44

44

44

44

Pinocchio

The Ringmaster

Candlewick

Piano

∑∑∑

œœ. œœ œ# œœ. œœ œ œœ œœ ..œœ œœœ.

Œ ‰ œ. œ. œ.

q = 112

∑∑∑


‰ jœœ## ..œœjœœ

∑∑∑



œœ.œœ.

&?Pno.

85


Œ ‰ œ. œ. œ.


‰ jœœ## ..œœ œœ œœ##œœœ# œœ œœ œœ œœ œœœ œœ œœœ# œœ œœœœ# œœ# œœ œœ# œœ œœ# œœ œœ œœ œœ œœ œœ

&?Pno.

88 œœ# . œœ. œœ. œœ œœ#‹ œœ œœ œœ œœ œœ. œœ œœnœœ# œœ œœ‹# œœ œœ œœ œn œ# œ œ œ# œ# œ# œ œ

œœ# . œœ.jœœ. œœ# Jœœ œœ. œœ.

œ# œ‹ œ# œ œ œ Œ Jœœ# œœ œœ œœ#

PinocchioAaron Hunt

©

Score

Act II, Scene 2

142

&?Pno.

90 œœ# . œœ œœ#‹ œœ œœ œœ œœ œœ. œœ œœn œœ. œœ.œœ# œœ‹# œœ œn œ# œ œ œ# œ# œ# œ œ œ œ œ œ

jœœ# .œœ# œœn œœ œœ. œœ œ# œœ œœ

œ# œ‹ ‰ ‰ œ# œœ ‰ jœœnn

&?Pno.

92

œœ œ# œœ œ œœ œœ œœ. œœ œ œœ œœœœ ‰ jœœ œœ ‰ jœœ

œœ œ# œœ œ œœ œœ œ œœ œ œœ œ œœ œ œœ œœœ Œ Ó

œœ œ# œœ œ œœ œ œœœ œœ œœœ œœœŒ ‰ jœœ Ó

&?

..

..

..

..Pno.

95

œ Œ Ó


rit. jœœnn œœ œ œ# jœœ œœ œ œJœ Jœ

œ. œ. œ. œ. œ. œ. œ. œ.

q = 94 jœœ œœ œ œ# œ œ œ œ œJœ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ.

&V&?

42

42

42

42

44

44

44

44

Pin.

Can.

Pno.

98 ‰ jœ .œ jœ œ œSo where's my fa ther?

∑98 ∑

œœ Œ Ó

∑‰ jœ ‰ jœ jœ jœ jœ œ3

So... I might not have been

∑∑

∑œ œ jœ œ# Œ " jœ jœ

3

hon est with you... He's not

∑∑

∑

œ Œhere...

Œ œœŒ œœœ

-

-

12 Pinocchio

143

&V&?

44

44

44

44

Pin.

Can.

Pno.

102 ‰ jœ ‰ jœ œ œ œ œ œ#3

Then.. then why'd we skip school?

∑102

œœbb Œ Óœœb Œ Ó

‰ rœ rœ jœ rœ rœ rœ rœ Jœ Jœ ‰I could be learn ing how to find him!

∑∑∑

-

&V&?

43

43

43

43

44

44

44

44

Pin.

Can.

Pno.

104 ∑Œ ‰ jœ œ œ œ œ#3

Well may be he is104

œœ œœ# Óœœœ œœœ# Ó

Ó . jœ# jœ jœ3

Why did you

˙# Óhere?

∑∑

œ œ œ# Œlie to me?

∑Ó ‰ jœœœ##Ó ‰ J

œœœ##

-

V&?

44

44

44

42

42

42

Can.

Pno.

107 ‰ œ# œ rœ Jœ Rœ Rœ Jœ œ jœn3

Be cause it seemed like you need ed more107 œœœn# Œ Ó

œœœ## Œ Ó

- -

13Pinocchio

144

V&?

42

42

42

43

43

43

44

44

44

Can.

Pno.

108 œ# Œfun!

108 Œ œœœn#Œ œœœ##

‰ Jœ œ œ#You like school!jœœœb ‰ Œ Œ

Jœœœ ‰ Œ Œ

Œ jœ œ œ œ#3

What kind of boyjœœœb ‰ Œ Œ

Jœœœb ‰ Œ Œ

˙n jœ# ‰likes school?!

∑∑

Œ ¿ ŒYUCK!

∑∑

V&?

44

44

44

Can.

Pno.

113 Œ jœ jœ œ œ Jœ JœWe should play here in

113 ∑www

˙ Œ jœ jœstead. At the

∑∑

jœ jœ œ# œ ŒToy Land Cir cus!

∑Ó ˙̇̇#

Œ jœ jœ œ œThere's no rules here!

∑www

- -

V&?

Can.

Pno.

117 Œ jœ jœ œ œThere's no school here!

117 ∑www

Œ jœ jœ jœ Jœ jœ œ œ3

No one to say you're be ing

wwww

˙ Óbad!

wwww

Œ .jœ rœ Jœ Jœ .œ œAll the food and can dy

wwww#

.jœ Rœ .˙#you can eat!

wwww

- -

&&?

Pin.

Pno.

122 Ó ˙Can

122 ww# æww

˙ Œ jœ# jœdy! I don't

œœœ### œœœ œœœ œœœ œœœ œœœ3 3


Jœ jœ# œ Œ ‰ jœ# jœ3

know this word! but I



˙ Jœ Œ .like it!



-

14 Pinocchio

145

&&?

Pin.

Pno.

126 Œ jœ# jœ jœ œ œ Jœ# œ œ3 3

What could a cou ple of ho urs126 jœœœ### ‰ Œ Ó

jœœ ‰ Œ Ó

œ ‰ . Rœ ˙#hurt? Let's go!

∑Œ jœ œ# Ó

∑∑

œ. œœœ# .œ.


œ.œœœ.

- -

&?Pno.

129 .œ# œ# .œ œ# œ œ œ .œ œ .œ œ .œ œ‹ œ# œ# œ .œ# œ3

3œ. œœœ# .œ.


œ.œœœ# .F

The Ringmaster walks out! œœ# . Œ ÓU

œœœ# . Œ ˙̇##U

?

&?

R.M.

Pno.

131 ‰ jœ# jœ jœ jœ œ œ Jœ# Jœ Jœ#3

3And what do you think that you two are

131 ∑

ww

œ œ# jœ# ‰ Œ jœ jœ jœ3

do ing here? Come to cause

∑

ww

œ# œ# ‰ jœ jœ jœ jœ jœ jœ Jœ#3 3

trou ble? Be cause you think there's no rules

∑

ww

- -

?

&?

R.M.

Pno.

134

Jœ# ‰ Œ ŒUJœ Jœ

here? Then you've134 ∑

jœœ‰ Œ Ó

Pinocchio and Candlewick hesitantly but simeltaneously answer: "Yes?"

œ Jœ jœ Jœ ˙#3

come to the right place!

∑œœ

jœœ jœœjœœ ˙̇̇̇##

3

∑jœœ# œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœ

œœœ# œœœ œœjœœ

œœœ jœœ

Ó œ œ# œ#3

So come and

œ# œ‹ œ œ œ œ œ œ œ œJœ œ Jœ œ œ œjœœ


15Pinocchio

146

?

&?

R.M.

Pno.

138 ˙ œ# jœ# Jœ Jœ3

Play and eat to your138 jœœ# œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœ

œœœ# œœœ œœjœœ

œœœ jœœ

.œ# œ# .œ œ œ ‰ Jœ#heart's con tent The

œ# œ‹ œ œ œ œ œ œ œ œJœ œ Jœ œ œ œjœœ


.œ œ œ œ# œ œ# œn3

on ly rule here is tojœœ# œœ œ œ‹ œ œ œ œ œJœ Jœ œ Jœœœœ# œœœ œœ

jœœœœœ jœœ

- -

?

&?

R.M.

Pno.

141 œ# œ œ‹ .œ# œ .œ# œ# .œ‹ œ3do what ev er you

141 œ# œ‹ œ œ œ œ œ œ œ œJœ œ Jœ œ œ œjœœ


Jœ ‰ Œ Ówish!

œœ# . Œ Óœœœœ# . œ. œ. œ.

∑∑

œ. œ. œ. œ.

- -

&?Pno.

144 ∑œ. œœœ# .

œ.œœœ### .

œ. œœœ .œ.

œœœ.∑

œ. œœœ# .œ.


œ.œœœ# .

.œ# œ# .œ œ# œ œ œ .œ œ .œ œ .œ œ‹ œ œ œ .œ# œ3 3

œ. œœœ# .œ.


œ.œœœ.F

&?Pno.

147 œœ# . œœ.

œœ## ˘ œœœ# œ œœœœ# . œ# œœn . œ# .

œn . œn œœ# . œ‹ .œœœ# ...œœœ œœ# œœœ œœœ œœœ œœ

3˙̇ œœ## œœ## œœ œœ3

œœœ# ...œœœ œœ# œœœ œœœ œœœ œœ3..œœ## œœ## ..œœ œœ œœ ‰ J

œœ##œœœ# ...œœœ œœ# œœœ œœœ œœœ œœ

3˙̇ œœ##œœ œœ## œœnn

3

&?Pno.

151 œœœ# ...œœœ œœ# œœœ œœœ œœœ œœ3œœ## œœ œœ ..œœ## œœ ..œœ œœ## ..œœnn œœ##

3

˙ ˙#˙̇ œœ## œœ## œœ œœ

3

œ œb œ œb..œœ## œœ## ..œœ œœ œœ ‰ J

œœ##œ œ œ# œ˙̇ œœ##

œœ œœ## œœnn3

16 Pinocchio

147

V&?

Can.

Pno.

155 ∑155 œ œ œb œ

œœ## œœ œœ ..œœ## œœ ..œœ œœ## ..œœnn œœ##3

Imitating donkey sounds(pitches and intervals areapproximate)‰ ¿# ¿b ‰ ‰ J¿ Œ

Hee AW Hee

œœ# . Œ Óœœ. Œ œœ. Œ

‰ J¿n Œ ‰ jœ# .œ œAW Pi noc chi

∑Ó ˙̇##

œ ‰ jœ jœ Jœ# jœ œ3

o I don't feel so good

∑

ww

- - - - -

&V&?

42

42

42

42

43

43

43

43

Pin.

Can.

Pno.

159 ∑‰ œ œ ‰ J¿# J¿b ‰ .Jœ rœ#3

I don't Hee AW feel so159 Œ œœœœb .

Ó

ww

Ó jœ# .œnMe ei

˙# Ógood!

∑

ww

jœ ‰ Œ Œ ‰ J¿#ther! Hee

Œ ¿# ¿b ÓHee AW

∑

ww

(covers his mouth to try to prevent it from escaping)∑

∑∑∑

¿ Œ ŒAW

∑∑

œ œœb œœ

-

-

-

-

?

&?

R.M.

Pno.

164 ∑164 ∑

œœœb œœ

Pinocchio and Candlewick slowly turn into donkeys

∑∑

œ œœb œœ

ad lib donkey calls

Ó œbOne

∑

œœœb œœbb

.œ Jœ# œ œ Rœthing I for got to

∑

œ œœb œœ

-

17Pinocchio

148

?

&?

R.M.

Pno.

168 œ œ ‰ rœb rœmen tion If you

168 ∑

œœœb œœ

œb œ œ jœ Jœ Jœb Jœmis be have here there is a

∑

œ œœb œœ

œ# Œ œ#price! You'll

∑

œœœb œœbb

Jœ .œ œ œ#con tract don key

∑

œ œœb œœ

- - - - -

?

&?

R.M.

Pno.

172 œ Jœ Jœ Jœ Jœfe ver and be an

172 ∑

œœœb Œ

œ œ jœb jœass your whole

∑∑

œ Œ Jœ Jœ#life! Yes you'll

∑

œ œœb œœ

œ œ œ œ#con tract don key

∑

œœœb œœ

- - -

?

&?

R.M.

Pno.

176 œ Jœ Jœ Jœ Jœfe ver and be a

176 ∑

œ œœb œœ

œ œ jœb jœass your whole

∑

œœœb œœbb

œ Ólife!

∑

..˙̇

-

?

&?

R.M.

Pno.

179 Œ œ Jœ Jœ Jœ3

Yes, this one will179

..˙̇bb

..˙̇

(towards Candlewick)

Jœ Jœb Jœ ˙b3

go to the farm!

..˙̇

..˙̇

Jœb Jœ Jœ Jœ Jœ Jœ Jœ Jœ Jœ3 3 3

Where he'll be worked to the end of his

..˙̇

..˙̇

18 Pinocchio

149

?

&?

44

44

44

42

42

42

44

44

44

R.M.

Pno.

182

œn Œ jœ jœ jœ3

days! Oh how I182

..˙̇

..˙̇

.œn œ œ œ œ œ œ3

take de light in pun ish ing

wwww

œ# œ œ#bad chil dren!

˙̇˙̇

- - - -

?

&?

44

44

44

R.M.

Pno.

185 ∑185 ∑

˙̇ ˙̇bb

œ .œ œ ˙bAh look at you!

∑wwwwwbb

‰ Jœ# Jœ œ œ œ œ œ œ Œ3 3

What a u nique look ing don key!

∑wwww

- - -

?

&?

R.M.

Pno.

188 ‰ jœ jœ Jœ Jœb jœ jœ Jœ# Jœ Jœ3

3I think you'll stay right here at the cir

188 ∑....˙̇˙˙ œ# œ œ

3

œ# Œ jœ jœ jœ jœ jœ Jœ3 3

cus! We'll make good use out of

∑œ# Œ Ó

˙# Óyou...

∑Œ œ# Ó

-

19Pinocchio

150

&??

&&&?

b

bbbbb

b

44

44

44

44

44

44

4486

86

Pinocchio 1

The Ringmaster

The Village Drummer

Girl at Circus 1

Girl at Circus 2 2

Piano

∑∑∑∑∑

....œœœœ œœœœ œœœœ# ....œœœœ œœœœ œœœœ∑

Circus Fanfare! q = 120

∑∑∑∑∑

œœœœ. œœœœ. œœœœ. œœœœ. œœœœ. œœœœ. œœœœ# . œœœœ. œœœœ. œœœœ. œœœœ.

∑

∑∑∑∑∑

œœœœ. œœœœ. œœœœ. œœœœ. œœœœ. œœœœ. œœœœ# . œœœœ. œœœœ. œœœœ. œœœœ. œœœœ. œœœœ.

∑

&?

b

b86

86....

44

44Pno.

194 ‰ œœœœ. œœœœ. ‰ œœœœ. œœœœ.

..œœ. ..œœ.

‰ œœœœ. œœœœ. ‰ œœœœ. œœœœ.

..œœ...œœ.

˙̇ œœ œœ œœ œœ3

...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœ

..œœ œœ## ..œœ œœ œœ œœ

...œœœ œœ ..œœ œœ ...œœœ œœ ...œœœ# œœ

˙̇ œœœœ œœ œœbb

3...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœ

&?

b

bPno.

199 œœ œœ œœ## ..œœ œœ ..œœ## œœnn ..œœ## œœ3...œœœ œœ ...œœœ œœ ...œœœn œœ ...œœœ œœ

˙̇ ..œœ## Jœœ


˙̇ ˙̇


˙̇ ˙̇...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœ

˙̇ ˙̇...œœœ œœ ...œœœ œœ ...œœœn œœ ...œœœ œœ

&?

b

bPno.

204 ˙̇ ˙̇...œœœ œœ ...œœœ œœ ...œœœ œœ ...œœœ œœ



The Ringmaster emerges, the crowd cheers ..œœ œœ## ..œœ œœ œœ œœ




œœ œœ œœ## ..œœ œœ ..œœ## œœnn ..œœ## œœ3...œœœ œœ ...œœœ œœ ...œœœn œœ ...œœœ œœ

PinocchioAaron Hunt

©

Score

Act II, Scene 3

151

&?

b

b42

42Pno.

209 ∑..œœ œœ ..œœ œœ ..œœb œœ ..œœ œœ

∑..œœbb œœ ..œœ œœ ...œœœnn œœœ ...œœœ œœœ

Jœœ ‰ Œ Ó

...œœœ œœ ..œœ œœ ..œœ œœ ..œœ œœp

∑..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœDo not slow down into fermata

?

&?

bb

b

42

42

42

44

44

44

R.M.

Pno.

213 Œ . JœBe

213 ∑ŒU Œ

(clearing throat) Ahem!

P(over enunciated)

œ Œ Œ Jœ Jœ Jœ3

hold. La dies and

∑..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœ

Jœ Jœ Jœ œ Œ .jœ rœ3

gen tle men please! You're a

∑..œœ œœ ..œœ œœ ..œœ œœ ...œœœ œœœ

.jœ rœ .jœ rœ .Jœ rœ Jœ jœ Jœ3

bout to see things which can not be un

∑...œœœ œœœ ...œœœ œœœ ...œœœ œœ ..œœ œœ

˙ Óseen!

Ó œœ œœ œœ3

..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœ

- - - - --

&?

b

bPno.

218 ˙̇ œœ œœ œœ œœ3

...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœf..œœ œœ## ..œœ œœ œœ œœ...œœœ œœ ..œœ œœ ...œœœ œœ ...œœœ# œœ




?

&?

bb

b

R.M.

Pno.

222 Ó Œ Œ jœ3The

222

Jœœ ‰ Œ Ó

...œœœ œœ ..œœ œœ ..œœ œœ ..œœ œœp

Jœ Jœ Jœ Jœ Jœ jœ jœ Jœ œ œ œ jœ33 3 3

cir cus you're here for, it's just like the a* tre but


* - A as in snAke

Jœ Jœ Jœ œ œ Jœ œ œ œ Jœ Jœ Jœ3 3

3 3bet ter than Shake speare and dram a tists of the same


- - - - - - -

?

&?

bb

b

42

42

42

44

44

44

R.M.

Pno.

225 œ Œ jœ œ œ jœ œ œ jœ3 3 3

right. With crea tures with fea tures and225 ∑


œ œ Jœ Jœ jœ Jœ ˙3 3

tal ents that can't be be lieved!


Œ . jœJustœ œ œ œ œ œ

3 3

...œœœ œœœ ...œœœ œœœ

Jœ Jœ œ œ œ jœ œ œ Jœ œ œ Jœ33

3 3

take for ex am ple the li ons so amp le but

œ Œ Ó..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœ

- - - - - - - -

21 Pinocchio

152

?

&?

bb

b

R.M.

Pno.

229

Jœ Jœ Jœ Jœ jœ Jœ Jœ Jœ Jœ œ œ œ33 3 3

dropped from the show for they were quite dis hon est you229 ∑


˙ Ósee!

Ó œœ œœ œœ3


∑˙̇ œœ œœ œœ œœ

3

...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœf

∑..œœ œœ## ..œœ œœ œœ œœ...œœœ œœ ..œœ œœ ...œœœ œœ ...œœœ# œœ

Ó . ‰ jœ jœ3

Or theœœ Œ Ó..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœ

p

--

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&?

bb

b

R.M.

Pno.

234

Jœ œ œ œ œ jœ œ œ Jœ œ œ Jœ33

3 3high wi re art ist who's fear less and daunt less but

234 ∑..œœ œœ ..œœ œœ ..œœ œœ ..œœ œœ

Jœ Jœ œ œ œ œ œ ‰ jœ jœ jœ3 3

3

won't be per form ing to night due to a


œ jœ œ jœ œ Œ3 3

case of clum sy feet!

Ó Œ œœ œœ3


- - - - - - - -

&?

b

bPno.

237 ˙̇ œœ œœ œœ œœ3

...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœf..œœ œœ## ..œœ œœ œœ œœ...œœœ œœ ..œœ œœ ...œœœ œœ ...œœœ# œœ




˙̇ ..œœ## Jœœ


&?

b

bPno.

242 ˙̇ ˙̇


˙̇ ˙̇...œœœ œœ ..œœ œœ ...œœœ œœ ..œœ œœ

˙̇ ˙̇...œœœ œœ ...œœœ œœ ...œœœn œœ ...œœœ œœ

˙̇ ˙̇...œœœ œœ ...œœœ œœ ...œœœ œœ ...œœœ œœ



&?

b

bPno.

247 ..œœ œœ## ..œœ œœ œœ œœ...œœœ œœ ..œœ œœ ...œœœ œœ ...œœœ# œœ




ww

..œœ œ .œ œ .œ œ .œ œ

22Pinocchio

153

?

&?

bb

b

R.M.

Pno.

251 Œ œ œ Jœ œ œ œ œ œ ‰3 3 3

La dies and gen tle men lis ten!251 ∑

.œ œ .œ œ .œ œ .œ œ

‰œ œ Jœ Jœ Jœ œ œ jœ Jœ Jœ Jœ3 33

3

Af ter two months of pract ice we've got an a

∑


Jœ Jœ Jœ œ œ œ œ œ Jœ jœ jœ jœ3 3 3 3

ttrac tion a per form ing don key like which you have

∑


œ œ œ œ jœ ‰ Œ3

ne ver seen!

∑


- - - - - - - - - --

?

&?

bb

b

43

43

43

bb

bb

bb

R.M.

Pno.

255 ‰ ‰ jœ œ Jœ œ Jœ œ jœ3 3 33

So put your hands to geth er255 ∑


œ Œ " jœ jœFor the

∑∑

freely

Jœb œ œ .œ œdon key Pi noc chi

∑∑

œ Œ Œo!

∑

œ œœ œœ

Waltz-like q = 148A sad, worn down donkey-Pinocchio is pulled out by a rope ∑

∑

œœœ œœ

- - - - - -

&?

bb

bbPno.

260 ∑

œ œœ œœ∑

œœœ œœbb

.œ jœ# œ œ

œ œœ œœ.œ jœ# œ œb

œœœ œœ

.œ .œ .œb .œ

œ œœ œœ˙ œb

œœœ œœbb

.œ jœ# œ œ

œ œœ œœ.œ jœ# œ œb

œœœ œœ

&&&?

bb

bb

bb

bb

Girl 1

Girl 2 2

Pno.

268 ∑∑

268 œ œ œ œ œb œ

œ œœ œœ

∑∑

œ œ œ œ œ œ

œœœ œœbb

Œ . Jœ œ œOh what a


.œ Jœ œ œœ

œœœ œœ

œ œ œ œcute cute lit tle

œ œ œ œcute cute lit tleœœ œœ œœ œœ

œ œœ œœn# œœ

œ œ œ œdon key! What a

œ œ œ œdon key! What aœœ œœ œœ œœ

œ œœ œœ

œ œ œcuteœ œ œ

cute cuteœ œœ œœ

œ œœ œœn# œœ

- -

- -

23 Pinocchio

154

?

&&&?

bb

bb

bb

bb

bb

R.M.

Girl 1

Girl 2 2

Pno.

274 ∑œ œ œlit tle don

œ œ œlit tle don

274 œœ œœ œœ

œ œœ œœ

∑.˙n

key!

.˙key!

..˙̇n

œn œœ# œœ

∑œ Œ Œ

œ Œ Œœœ Œ Œœœœ œœ œœ

∑∑∑∑

œœœ œœ

∑∑∑∑

œ œœ œœ

∑∑∑∑

œœœ œœbb

Ó œThe

∑∑∑∑

.˙first

∑∑∑∑

œ Œ Œtrick!

∑∑∑∑

Pinocchio performs a trick

∑∑∑∑

..˙̇æU

- -

- -

&&&?

bb

bb

bb

bb

Girl 1

Girl 2 2

Pno.

284 Œ . Jœ œ œOh what a


284 .œ Jœ œ œœœœ Œ Œ

œ œ œ œcute cute lit tle


œ œœ œœn# œœ

œ œ œ œdon key! What a


œ œœ œœ

œ œ œcuteœ œ œ

cute cuteœ œœ œœ

œ œœ œœn# œœ

œ œ œlit tle don

œ œ œlit tle donœœ œœ œœ

œ œœ œœ

.˙nkey!

.˙key!

..˙̇n

œn œœ# œœ

œ Œ Œ

œ Œ Œœœ Œ Œœœœ œœ œœ

∑∑∑

œœœ œœ

∑∑∑

œ œœ œœ

- - - -

- - - -

?

&&&?

bb

bb

bb

bb

bb

R.M.

Girl 1

Girl 2 2

Pno.

293 ∑∑∑

293 ∑

œœœ œœbb

Ó œThe

∑∑∑∑

.˙sec

∑∑∑∑

œ Œ Œond!

∑∑∑∑

∑∑∑∑

..˙̇æU

∑Œ . Jœ œ œ

Oh what a


.œ Jœ œ œœœœ Œ Œ

∑œ œ œ œ

cute cute lit tle


œ œœ œœn# œœ

∑œ œ œ œ

don key! What a


œ œœ œœ

∑œ œ œ

cute cute cuteœ œ œcute cute cuteœ œœ œœ

œ œœ œœn# œœ

-

- -

- -

24Pinocchio

155

?

&&&?

bb

bb

bb

bb

bb

R.M.

Girl 1

Girl 2 2

Pno.

302 ∑œ œ œlit tle donœ œ œlit tle don

302 œœ œœ œœ

œ œœ œœ

∑.˙#

key!.˙key!..˙̇#

œn œœ# œœ

∑.˙

.˙

..˙̇

˙̇## œœ

Ó œAnd

∑∑∑

œœŒ Œ

q = 120

.œ jœ œ œ œ3

now the dan ger ous

∑∑∑∑

˙ ‰ jœone! The

∑∑∑∑

œ œ œ ˙b3fi nal trick!

∑∑∑∑

∑∑∑∑

œ œ Œ

∑∑∑∑

œ œ Œ

- -

- -

- - -

?

&?

bb

bb

bb

44

44

44

R.M.

Pno.

311 ∑311 ∑

œ œ Œ

∑∑

œ œ Œ

∑∑

..˙̇

Pinoccho fails the trick,injuring himself in theprocess

∑Ó .U

Ó .randomchaotic playing

∑∑

ww

∑∑

ww

Œ œ œ ˙Sor ry folks...

∑ww

∑∑

ww

∑∑

ww

∑∑

ww

-

?

&?

bb

bb

bb

R.M.

Pno.

321 Œ œ Jœ .œbShow's can celled

321 ∑ww

Œ œ œ œb ŒNo re funds.

∑ww

∑∑

wwbb

The village drummer approaches from the crowd

Slower q = 80 ∑∑

wwbb

- -

??

&?

bb

bb

bb

bb

R.M.

Drum.

Pno.

325 ∑Œ œb œ œ œ œ

How much for the don325 ∑

wwbb

∑

œb Œ Ókey?

∑

ww

Œ œb Œ œWhy? He's

∑∑

œœbbŒ Ó

Jœ jœb œ Óuse less now.

∑∑∑

-

-

25 Pinocchio

156

??

&?

bb

bb

bb

bb

R.M.

Drum.

Pno.

329 ∑‰ jœ jœ jœ jœb jœ jœ jœ jœ3

I think he might make a good drum!329 ∑

∑

∑‰ jœ jœ jœ œ œn

if you catch my drift.

∑∑

Œ œ Œ jœ jœAh! For a

∑∑

œœ.Œ Ó

œ œ jœ Jœ œ œ œ Œ3

3don key of this qual i ty

∑∑∑

- - -

??

&?

bb

bb

bb

bb

R.M.

Drum.

Pno.

333 jœ jœ œ œ Rœ Rœ œ œ œ3

One would ex pect no less than fif ty

∑333 ∑

∑

œ .˙gold coins!

∑∑∑

∑jœ jœ jœ ‰ œn ŒU

How a bout five?

∑∑

œ Œ jœ jœ jœ jœ jœ3

deal. Just one word of ad

∑∑∑

œb Œ Œ œvice! I

∑∑∑

- -

-

-

?

&?

bb

bb

bb

R.M.

Pno.

338

œ œ rœ rœ Rœ rœ rœ rœ œ Œwould nt get him wet if I were you!

338 ∑∑

Œ œ œ œ œ œ œ3

You might not like the re

∑∑

˙n Œ œnsult! (Wa

∑∑

œn œ œ œ œ ‰ Jœ3

ter lifts the curse and

∑∑

œ œ œ œ œ œ œ œ Œ3 3that would nt be good for busi ness!)

∑∑

The Ringmaster takes his money and leaves

- - - - -

?

&?

bb

bb

bb

Drum.

Pno.

343 ∑343 ∑

..˙̇ œœ

∑∑

..˙̇ œœ

∑∑

˙̇ ˙̇

∑∑

..˙̇ œœ

∑∑

..˙̇ œœ

∑∑

ww

Œ Jœ Jœ Jœ œ œ ‰ jœ3

Don't get him wet? You

∑œœ Œ Ó

.jœ rœ .jœ rœ jœ jœ jœ jœ jœ3

have to soak the skin to make a good

∑∑

26Pinocchio

157

?

&?

bb

bb

bb

Drum.

Pno.

351

œ Œ œ œ œ3

drum! Throw ing him351 ∑

∑

œ œ œ œ .œ œ œ3

off this cliff should do the trick!

∑∑

Œ jœ jœ œ œ œ3

Tie a bould er a

∑∑

œ œ œ rœ rœ œ œround his neck so he does nt

∑∑

- - - -

?

&?

bb

bb

bb

Drum.

Pno.

355 œ œ œ Œget a way!

355 ∑..˙̇ œœ

∑∑

..˙̇ œœ

∑∑

˙̇ ˙̇

∑∑

..˙̇ œœ

∑∑

..˙̇ œœ

-

?

&?

bb

bb

bb

Drum.

Pno.

360 ∑360 ∑

ww

‰ Jœ œn Œ œWhat's that? A

∑œœ Œ Ó

Jœn Jœ Jœ œ œ ‰ Ó3 3

whale in the wa ter?

∑∑

∑∑

wwæ

Œ œ# Œ jœ jœ Jœn3

No! No more drum

∑

œœ## Œ Ó

‰ œb œn Œ Ó3

I guess...

∑Ó œœ.

Œ

-

27 Pinocchio

158

&V?

&?

44

44

44

44

44

Pinocchio

Candlewick

Geppetto

Piano

∑∑∑∑

œb . œ. jœ. œ. jœ.

Ominous q = 92

π

∑∑∑∑ ?

œb . œ. œ. œ œ. œb .

∑∑∑

œœ œœbb œœbb œœ œœnjœœnn ‰ Ó

3


∑∑∑

jœ œb . œb . œb . œb . œn . œ# .3 3

œb . œ. œ. œ œ. œb .??Pno.

370 œœ œœbb œœbb œœ œœnjœœnn ‰ Ó

3

&


‰ jœœbb > œœ ‰ œœœbb . ‰ ?

œb . œ. œ. œ œ. œb .

œœ œœbb œœbb œœ œœ## Jœœnn ‰ Ó

3

œ. œ. jœ. œ. jœ.??

42

42....

44

44Pno.

373 jœ œb . œb . œb . œ. œn . œ# .3 3

œ. œ. œ. œ œ. œb .

œœ œœbb œœbb œœ œœ## Jœœnn ‰ Œ œ œb œb

3

3

&

œ. œ. jœ. œ. jœ.

rit. œœ œœ## œœn3

∑

PinocchioAaron Hunt

©

Score

Act 2, Scene 4

159

&&?

44

44

44

43

43

43

44

44

44

42

42

42

Pin.

Pno.

376 Ó Œ œ œ#3

All a

376 wŒ...˙˙˙

∑

q = 72 œ œ œ Ó3

lone,wwwwŒ œ. œ. œ.

Œ œ œ œ œin the bel ly

.˙ ....˙˙˙̇

∑

œ œ œ ˙of this whale.wwwwŒ œ. œ. œ.

‰ jœ rœ rœ rœ rœ œ œ œ œ œ#At least I'm not a don key an y more

∑∑

- - - - -

&&?

42

42

42

44

44

44

Pin.

Pno.

381 ∑381 ∑

Œ œ.

∑jœœœœ œœœœ

jœœœœjœœœœ œœœœ

jœœœœww

Ó . jœ jœAll a



˙ jœ ‰ Œlone



ww

Ó œ œAll a



- -

&&?

Pin.

Pno.

386 œ œ œ œ ˙3

3

lone a lone



ww

Œ jœ jœ jœ jœ œI just want to find



œ ‰ jœ œ œ œ œjust want to find my



ww

˙ ˙fa ther.



- -

29 Pinocchio

160

&?

&?

45

45

45

45

Pin.

Gep.

Pno.

390 ‰ jœ jœ œ œ œ œ œ œI hope Can dle wick's o kay too

∑390 ∑

ww

jœ œ ‰ Œ ‰ ‰∑



∑Ó . œ œ

All a

jœœœœ œœœœjœœœœ œœœœœ œœœœ


(offstage)

∑œ œ Œ œ œlone All a

Ó ˙̇

∑

- -

- -

-

&?

&?

45

45

45

45

44

44

44

44

Pin.

Gep.

Pno.

394 ∑œ œ Ó œ œlone In the

394 Ó œœ ˙̇

∑

∑œ œ œ œ œ œ

bell y of this whale

∑∑

Œ œ .œ Œ ‰ rœ rœFa ther! Is that

Œ œ œ œ œAll a lone

wwwwæwwæ

œ œ Œ ‰ rœ rœ œyou? Is that you

‰ ≈ Rœ .œ œ œ Jœ ‰Pi noc ci o?

wwwwæwwæ

- -

-

- - -

&?

&?

Pin.

Gep.

Pno.

398 œ .œ Œ œ œ œfa ther? Can it be?

‰ Jœ .œ œ œ œ œPi noc ci o? Can it

398 ˙˙˙̇æ œ œ œœ# œœ..˙̇æ œœ œœ

œ Œ Óœ ‰ Jœ .œ Jœbe? Pi noc chiœœœ Œ Óœœœ ‰ ‰ Ó

fŒ . Jœ œ œ

Gep pet to!

wo!jœœœœ## œœœœ œ œ‹

jœœœœ# œœœœ œ œJœ Jœ

Jœœœ# œœœ œ œ‹ J


œœf

f

∑∑

jœœœ## œœœ œ œ‹ œœ œœ‹ œœ œœ œœJœ œ œ JœJœœœ# œœœ œ œ‹ J


œœ

-

- - - - - -

- -

30Pinocchio

161

&&?

Pin.

Pno.

402 ∑402

jœœœœ## œœœœ œ œ‹jœœœœ# œœœœ œ œJœ Jœ

Jœœœ# œœœ œ œ‹ J


œœ

∑jœœœ## œœœ œ œ‹ œœ œœ‹ œœ œœ œœJœ œ œ Jœ

wwæ

∑jœœœ# œœ jœœ jœœ œœ jœœjœœ ‰ Œ Ó

œ# .œ ‰ jœ jœ jœ jœ œ#3

Fa ther! It's so good to seejœœ#∑

-

&?

&?

Pin.

Gep.

Pno.

406 œ Œ Óyou!

Œ ‰ Jœ .œ# œ œ œ#It's good to see you

406 ‰ jœœ œœ. Ó‰ J

œœœœ# œœœ. Ó

Ó ‰ jœ# œ œ ‰But fa ther!œ œ# Ó

too son!

∑∑

Ó . ‰ œ œHow did.œ# œ œ# Ó

Yes, my son?

∑∑

œ œ# œ .œ œ œ œ# Œyou get in side this whale?

∑∑

Ó . jœœ

œœ##

- -

?

&?

42

42

42

44

44

44

Gep.

Pno.

410 ∑410 ∑

˙̇NNjœ# œœ# œœ# œœ# œœ# œœn œœ# œœ# œœ

33

‰ Jœ ‰ jœ#When you

∑jœœnb ‰ jœœ# ‰

Jœ Jœ œ œ# Rœrœ Rœ

rœ œ œ# œ œ œ3

left I did nt know if I would ev er see you a

∑œœœ

œœ# . œœ. œœ. œœœœ œœ## œœ. œœ.

- - -

?

&?

Gep.

Pno.

413

Jœ ‰ Rœrœ# Jœ œ# œ œ œ

3gain so I went look ing for you!

413 ∑œœ

œœ# . œœ. œœ. œœœœ œœ## œœ œœn œœ.

œ ‰ ‰ œ# œ œ œ œ œ œ œI went look ing through the town and

∑œœ

œœ# . œœ## . œœœn# œœœ œœœn œœœn œœœ œœœ œœœ# œœœ#

- -

31 Pinocchio

162

?

&?

Gep.

Pno.

415 œ# œ œ œ .œ# œ Jœ ‰3

no one knew your where a bouts

415 ∑œœœ# œœœ œœœœ# œœœ# ..œœ## œœ œœœœ œœ.3

‰ rœ rœ œb œn œ# œ Jœ Jœ Jœ3

But it sounds like you were up to no

∑∑

Jœ ‰ Œ Ógood!

∑œœœ

œœ# . œœ. œœ. œœœœ œœ#‹ œœ. œœ.

- - -

?

&?

42

42

42

44

44

44

Gep.

Pno.

418 ‰ ‰ Œ Ó418 ∑

œœœœ# . œœ. œœ. œœ

œœ œœ#‹ œœ œœb œœ. œœ#

‰ jœ jœ jœI heard some

∑

Jœœœ# ‰ Œ

œ œ œ œ# œ œ œ œ œ œ œ œ œ œ#3 3tales a bout a pup pet that was ter ror i zing the whole

∑œœœ


- - - - -

?

&?

Gep.

Pno.

421

Jœ ‰ ≈ œ# œ œ œ œ ‰ œ œtown ru ined a cir cus af ter

421 ∑œœ

œœ# . œœ. œœ. œœœœ œœ#‹ œœ œœb œœ.

œ œ# Jœ ‰ jœ œ œ œ# œ œ#3

skip ping school!For which I bought you a

∑œœœ

œœ# . œœ. œœ. Ó

œ Jœ# ‰ ‰ œ œ# Jœ Rœ Rœschool book! Ter ror ized some poor

∑œœœ


- - - - - -

?

&?

42

42

42

44

44

44

Gep.

Pno.

424 œ œ# œ ‰ Rœ Rœ Jœ Rœ# Rœ œ œ#an i mals tried to go on a kill ing

424 ∑œœ

œœ# . œœ. œœ. œœœœ œœ#‹ œœ œœb œœ. œœ#

Jœ rœ rœ jœn rœ rœ#spree, with two knives none the

∑

Jœœœ# ‰ Œ

œ ‰ œ œ .Jœ# Rœ‹ œ œless! Got your self ar rest ed

∑œœœ


- - - - - -

32Pinocchio

163

?

&?

43

43

43

Gep.

Pno.

427 ≈ Rœ Rœ Rœ œ# œ .œ œ œ œand then I heard a boat went miss ing

427 ∑œœ

œœ# . œœ. œœ. œœœœ œœ#‹ œœ œœb œœ.

‰ rœ# rœ œ œ œ œ œ# œ œ œ œ œ œI as sumed that it was you and I bought a boat and

∑

Rœœœ# œ œ# œ œ œ œ œ œ# œ œ œ œ œ œ

- -

&?

&?

43

43

43

43

44

44

44

44

Pin.

Gep.

Pno.

429 ∑.œ œ ˙

went to sea!

429

.œ# œ œœ œœb œœb œœb œœnb œœn œœb œœb

..œœ œ ˙̇̇#

Œ . jœ# jœ# œ œ œ œ œBut I did nt steal an y

∑

œœ# . œœ.Œ Ó

rœ# œ# . œ. Œ Ó

œ jœ# ‰ Œ ‰ ‰boats!

∑∑

œœœœœ# . œœ. œœ. œœ

œœ œœ## œœ. œœ.

- -

?

&?

Gep.

Pno.

432 ‰ œ œ# œ œ ≈ œ œ œ œ œ#none the less a safe as sump tion!

432 ∑œœ

œœ# . œœ. œœ. œœœœ œœ## œœ œœn œœ.

‰ œ# œ œ œ œ œ œ œ3

giv en all your re cent be hav

∑œœœ

œœ# . œœ. œœ. œœœœ œœ## œœ. œœ.

Jœ ‰ Œ ‰ Jœ# Jœ Jœnior! And then a

∑œœ

œœ# . œœ. œœ. œœœœ œœ## œœ œœ œœnn œœ#

f- - - - -

?

&?

Gep.

Pno.

435 .œ Jœ .œ Jœstorm ap proached the

435 œ œb œb œ œ# jœn ‰ Ó3

œœœn œœœ œœœ œœœn œœœ œœœ œœœn œœœ œœœ œœœn œœœ œœœ

˙b ‰ œ œ œ œ Rœ Rœboat! and I not iced that the

jœ œb . œb . œb . œ. œn . œ# .3

3


- -

33 Pinocchio

164

?

&?

Gep.

Pno.

437 .œ Jœ .œ Jœsea was eat ing

437 œ œb œb œ œ# jœn ‰ Ó3


- - -

?

&?

Gep.

Pno.

438 ˙b ‰ Jœ Jœ Jœme! and now I'm

438 jœ œb . œb . œb . œ. œn . œ# .3

3


Jœ Rœ Rœ œb œ rœ# Rœ ˙trapped in the bell y of this beast!

œ œb œb œ œ# jœn ‰ œ œb œ œ œ œ œ œ œ œ3 3 3


jœ# ‰ Œ Ójœ ‰ Œ Ó

wwwb## U

-

?

&?

Gep.

Pno.

441

œ# jœ jœ œ œ jœ‹ jœbTrapped in the bell y of this

441 ∑∑

˙ ˙#U

beast...

∑∑

Œ jœ jœ œ œ#No e scap ing

∑∑

∑jœœœœb œœœœ


jœœœœwwbb

A Little Slower q = 80∑

jœœœœb œœœœjœœœœ œœœœb œœœ

œœ œœbb - œœ- œœ-



jœœœœwwbb

- - -

&?

&?

Pin.

Gep.

Pno.

447 Ó . ‰ jœTo

∑447 jœœœœb œœœœ

jœœœœ œœœœb œœœœœ œœbb - œœ- œœ-

˙b œ ‰ ‰ œgeth er At

Ó . ¿bHmm?jœœœœb œœœœ


jœœœœwwbb

œb Jœb Jœ œ œleast we're to geth er


jœœœœ œœœœb œœœœœœ œœbb - œœ- œœ-

Œ jœb jœ œ œ jœb Jœbin the bell y of this



jœœœœwwbb

- - - - -

34Pinocchio

165

&?

&?

Pin.

Gep.

Pno.

451 ˙ œb ‰ jœwhale! To

Ó . Jœ JœYes to

451 jœœœœb œœœœjœœœœ œœœœb œœœ


˙b œ ‰ ‰ œgeth er At

œ Jœ Jœ .œ jœgeth er Pin oc chijœœœœb œœœœ


jœœœœwwbb

œb œb œ œ œleast we're to geth erjœ Jœ œ Jœ Jœ œ

o At least we're to gejœœœœb œœœœjœœœœ œœœœb œœœ


Œ œb œ œ œ œb œbin the bell y of thisœ Œ Jœb Jœ œ œ

ther! in the bell yjœœœœb œœœœjœœœœ


wwbb

- - - - -

- - - - - --

&?

&?

Pin.

Gep.

Pno.

455 wbwhale!

Jœb Jœb œ ˙of this whale!

455

Jœœœœb œœœœ J

œœœœ œœœœb œœœœœ œœbb - œœ- œœ-

Œ Jœb Jœ œ œb Jœ Jœbin the bell y of this

∑jœœœœbbbb œœœœ


jœœœœwwbb

˙b Ówhale

‰ œb œ œb œ œ œ œbin the bell y of this whale.jœœœœbbbb œœœœ

jœœœœ œœœœb œœœœœ œœbb - œœ- œœ-

-

-

&?

&?

Pin.

Gep.

Pno.

458 Œ Jœb Jœ œ œb Jœ Jœbinthe bell y of this

œ ˙b Œ458 jœœœœbbbb œœœœ


jœœœœwwbb

˙ Œ œwhale. the

Ó . œthe

Jœœœœbbbb œœœœ J

œœœœ œœœœb œœœœœ œœbb - œœ- œœ-

.œb jœ ˙btwo of us.œ Jœ œb œtwo of us

∑∑

∑∑

Œ œ œb ˙

jœb œ jœ jœ œ jœ

From the background we hear Candlewick coughing

∑∑

Œ œ œb ˙

jœb œ jœ œ œ

∑∑

˙b Œ œ œbjœb œ jœ jœ œ jœ

-

35 Pinocchio

166

&?Pno.

464 ˙ Œ œ œbjœb œ jœ œ œ

˙ Œ œ œbjœb œ jœ jœ œ jœ

˙ ˙b

jœb œ jœ œ œ œ3

∑

wbU

&V?

&?

Pin.

Can.

Gep.

Pno.

468 ∑‰ jœ .œb œ œ œb œ

Pi noc chi o is that

∑468

wwbww

Ó jœ œ jœFa ther, please

œb jœ ‰ Œ ‰ ‰you?

∑

wwww

Pinocchio and Geppetto beginto pull Candlewick out from under some of the wreckage

œ œb Óhelp me!

∑∑

wwww

Candlewick is pulled out and is obviously very injured and sick

Œ ‰ jœ Œ .œb œCa Can dle

∑∑

jœœ ‰ Œ Ójœœ ‰ Œ Ó

stuttered jœ ‰ œ œ œb Jœ œU3

wick! What hap pend to you?

∑∑∑∑

- - -

- - - - -

V&?

Can.

Pno.

473 ∑473 ∑

Jœœb œœ Jœœ Jœœ œœ Jœœ

∑∑


œ ˙ ‰ jœBeat en and

∑


œ œb œb œ ‰ Jœbro ken The

∑


œ jœ jœ œ jœ Jœbfar mer was cruel as could

∑


- - -

V&?

Can.

Pno.

478 ˙ Óbe

478 ∑


œ ˙b œIn jured? Keep

∑


œ ˙ Œwork ing.

∑


œ ˙b œSick? Keep

∑


œ ˙b œwork ing. I

∑


- - -

36Pinocchio

167

V&?

Can.

Pno.

483 œb ˙ œhad to e

483 ∑...˙̇̇b Œ

wscape!

∑


Œ œ œ œ œ œSo I ran from the

∑


.œ jœ œ œb œfarm. The farm er chased

∑


--

V&?

Can.

Pno.

487

œ Œ Œ œme He

487 ∑


œ œ œ œ œ œbcor nered me on a cliff

∑


œ ‰ jœ œ œ œside and with no where

∑

Jœœb ..œœ ˙̇

œb œ ˙ ‰ jœleft to run I

∑∑

- - -

V&?

Can.

Pno.

491

œb œ œb œb ˙bjumped in to the sea!

491 ∑∑

‰ œb œ œ œb œb œ# œAnd then the sea swall owed me!

∑∑

˙ Ó˙˙˙̇>

˙˙˙̇>Œ ˙̇bb >

œœ>

∑˙˙˙̇>

œœœœ>œœœœ>

Œœœ ˙̇bb >

œœ>

- -

V&?

Can.

Pno.

495 ‰ jœb œb .œ œ œ œ œU

But list en Pi noc chi o

495 ∑ww

∑∑

Jœœ œœ Jœœ Jœœ œœ Jœœ

Much Slower q = 60

∑∑


∑∑


∑∑

jœœ œœ jœœ jœœ œœ jœœŒ ˙ œ

- - - -

37 Pinocchio

168

&?Pno.

500 Ó Œ œjœœ œœ jœœ jœœ œœ jœœ

.˙ œP

œ ˙ œjœœ œœ jœœ jœœ œœ jœœ

.˙ œ

œ ˙ œjœœ œœ jœœ jœœ œœ jœœ

.˙ œ

œ ˙ œjœœœ

œœ jœœ œœ œœœ

œœ.˙ œ

œ ˙ œjœœ œœ jœœ jœœœ œœ jœœ

.˙ œF

V&?

Can.

Pno.

505 ∑505 œ ˙ œ

jœœ œœjœœ

jœœ œœjœœ

.˙ œ

∑œ ˙ œ

jœœ œœ jœœ jœœ œœ jœœ.˙ œ

Ó . œPiœ ˙ œ

jœœ œœjœœ œœœb œœ œœ œœw

.œ œ ˙ œnoc chi o, I'mœ ˙ œ

jœœ œœ jœœ jœœ œœ jœœ.˙ œ

P- - -

V&?

Can.

Pno.

509 œ ˙ Œlea ving,

509 œ ˙ œjœœ œœ jœœ jœœ œœ jœœ

.˙ œ

Œ Jœ œ ˙3

for a farœ ˙ œjœœœ

œœ jœœ œœ œœœ

œœ.˙ œ

œ œ ˙off land!œ ˙ œ

jœœ œœ jœœ jœœœ œœ jœœ.˙ œ

Œ ‰ rœ Rœ œ œFor a far offœ ˙ œ

jœœ œœjœœ

jœœ œœjœœ

.˙ œ

œ ˙ Œland!œ œ

œ œœ

œjœœ œœ jœœ œ œ œ œ˙ Ó

-

V

&?

Can.

Pno.

514 Œ ‰ Jœ Jœ Jœ Rœ Rœ œ .œ3

I don't think I'll be com ing

514 œ ˙ œ

Jœœ œœ Jœœ œœ œœF

œ ˙ Œhome soon!˙ œ œ#

Jœœ œœ> Jœœ œœ œœœ

‰ rœ rœ .œ rœ rœ jœ JœI don't think I will be co˙# œ œ

Jœœœ œœœ œœœ Jœœœ œœœ œœœ

Jœ œ Jœ ˙ming home soon...œ œ ˙

œœœ œœœ œœœ œœœ ˙˙˙#

- -

38Pinocchio

169

V

&?

Can.

Pno.

518 œ Œ Ó518 œ œ œ# œ ˙

Ó Jœœ œœ Jœœ

Œ œ .œ œ œPi noc chi o,œ .œ œ ˙


‰ Jœ Jœ Jœ Jœ œ œ œ Rœ Rœ3

the world is a sca ry place, filled withœ .œœ

œœ œ


- - - -

V&?

Can.

Pno.

521 œ œ œ Jœ Œ Jœ Jœ Jœ3

sca ry peo ple don't let them

521 œ ..œœ œœœ œ


œ Rœ Rœ Rœ Rœ ˙change who you choose to be!œ ..œœ œ

˙̇

Jœœ œœ Jœœ œœ

œœ

œœ

œœ

f

∑œœ Jœ œ œ œ ˙̇3

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

- -

&V?

&?

Pin.

Can.

Gep.

Pno.

524 ∑Œ Jœ Jœ œ œ œ3 3

Don't let them change you.

∑524

˙̇˙ Óœœ

œœ

œœ

œœ

˙˙

∑œ Jœ ‰ Ó

∑Œ jœœœ œœœœ

jœœœœ œœœ œœœœŒ Œ Ó

Œ Œ jœ œ œ ‰ ‰ jœ3

Gep pet to!

∑∑

œœœœ œœœœjœœœœ œœœœ

jœœœœ œœœ œœœœ∑

- -

39 Pinocchio

170

&?

&?

Pin.

Gep.

Pno.

527 œ Œ jœ Jœ Jœ jœ jœ jœ3 3

Why can't he just come with

∑527 œœœœ œœœœ

jœœœœ œœœœjœœœ œœœ œœœœ

∑

œ Œ Óus?

Ó . ‰ JœPi

œœœœ œœœjœœœœ œœœœ

jœœœ œœœ œœœœ∑

∑œ Jœ œ Œ rœ rœ Rœ Rœ3

noc chi o (How do I ex


jœœ œœ œœœœŒ Œ ‰ Jœ Jœ ‰

- - - -

?

&?

Gep.

Pno.

530 .œ œ œ Œ ‰ Jœplain to him?) Pi

530 œœœœ œœœjœœœœ œœœœ


œ Jœ œ Œ . jœ3

noc chi o He's



œ œ jœ Jœ Rœ Rœ Jœ Jœ œ3

go ing some where we can not fol low!

œœœœ œœœœjœœœœ œœœœ


- -- - - - -

V?

&?

Can.

Gep.

Pno.

533 ∑Œ ‰ jœ œ œ œ3

Where we can not

533 œœœœ œœœœ œœœœ œœœ œœœ œœœœ œœœ œœœŒ Œ Ó

∑

˙ ˙fol low...

œœœœ œœœ œœœœ œœ œœ œœ œœ œœœ∑

∑∑

œœ

œœœœœ

∑

Œ Ó œPi

∑œ œ œ

œœ œœŒ Ó Œ

œ .œ œ ˙noc chi o,

∑œ ˙ œ

œjœœœ

œœ jœœ œœ œœŒ ˙ Œ

- - -

- -

40Pinocchio

171

V&?

Can.

Pno.

538 œ œ ˙please lis ten

538 œ œ ˙

œœœ jœœœ

œœ jœœ œœ œœŒ .˙

Œ Œ Jœ œ œ3

to theese lastœ œ ˙

œœœ jœœœ

œœ jœœ œœ œœœ Œ Ó

œ œ Jœ Jœ Jœ œ3

words be fore I leaveœ œ ˙

œœœ jœœœ

œœ Jœœ œœ œœ

œ œ ˙ Œthis place!œ œ ˙

œœœ jœœœ

œœ Jœœ œœœ œœ

- -

V&?

Can.

Pno.

542

Jœ Jœ Jœ .œ Jœ œ3

Don't let the world de cide

542 œ œœ œ

œœ œ œ

œ œœ jœœ œ Jœ œ œ

Jœ Jœ ˙ Œwho you are!œ

œœœ œœ

œœ œ œ

œ œ ..

œœ Jœ œ œ

Jœ Jœ Jœ .œ Jœ œ3

Don't let the world de cideœœ

œœ œ

œœ œ œ

œ œ jœœ œ Jœ œœb œ

œ œ .˙who you are!œ jœ

œ .œ œœ jœ3

œ œœ œœ œ œ œœ œœ œ œ

- -

V&?

Can.

Pno.

546 œ Œ œ œ œwho you are!

546 jœb œjœ

œ .œ œœ jœ3

3

œ œb œ œœn œ œ œœ œœ œ œ

œ Œ Jœ Jœ Jœ œ œ3

Don't let them change you!jœb œjœ

œ .œ œœ jœ3 3


œ Œ Jœ Jœ Jœ œ Jœ3 3

Don't let the world changejœb œjœ

œ .œ œœ jœ3 3


V&?

Can.

Pno.

549 œ œ# Jœ ˙ œ3

who you are!

549 jœb œ œœœ œ œœn œ œœ œœ#3

œ œb œ œ œn œœ

Jœ ˙ .œjœœ œœœ œ œœ œ œœ œœ# œœ

Jœœ œ œ œœ J

œœ

Œ Jœ .Jœ œ œ œ œ ‰3

Good bye Pi noc chi o.jœœ .œ œœ jœ

jœb œ3 3

œœ œ œ œœ œœ œ œ œ œb œ

- - - -

41 Pinocchio

172

V

&?

Can.

Pno.

552 Œ Jœ .Jœ Rœ ˙3

So long my friend!

552jœ

œ .œ œœjœœ J

œœbb œœ3

3


Œ œ .Jœ œ œ œGood bye Pi noc chijœ

œ ..œœ œœjœœ J

œœbb œœ3

3


wo!

wwjœœ œœ jœœ jœœ œœ jœœw

w

˙̇ œœbb œœjœœ œœ jœœ jœœ œœ jœœ.˙ œ

- - - -

&?Pno.

556 wwjœœ œœ jœœ jœœ œœ jœœw

&?Pno.

557 ˙̇ œ œjœœ œœ jœœ jœœ œœ jœœ.˙ œ

œ ˙ œjœœ œœ jœœ jœœ œœ jœœw

œ ˙ œjœœ œœ jœœ jœœ œœ jœœ.˙ œ

œ ˙ œjœœ œœ jœœ jœœ œœ jœœw

&?Pno.

561 œ ˙ œjœœ œœ jœœ jœœ œœ jœœ.˙ œ

Fœ ˙ œ

jœœ œœ jœœ jœœ œœ jœœw

œ .˙jœœ œœ jœœ jœœ œœ jœœw

œ .˙

wwUUw

∑U

∑U

?

&?

Gep.

Pno.

566 ∑566 ∑

œ œ jœ œ jœ

q = 72

∑∑

œ œ jœ œ jœ

∑∑

œ œ jœ œ jœ

∑∑

œ œ jœ œ jœ

‰ Jœ œ œ ‰ jœIt's no use We're

∑

œ Œ Ó

œb œ œ œ jœ ‰ jœ œ Œ3

nev er get ting out of here!

∑∑

Lights off

Lights come back on to Pinocchio and Gepptetto sittng next to each-other Candlewick is not seen on stage

- -

42Pinocchio

173

?

&?

Gep.

Pno.

572 ∑572 ∑

œb œ jœ œ jœb

‰ rœb rœ jœ œ œ jœ œb œb œb3 3

If we don't fig ure out some thing soon,

∑

œb œ jœ œ œb œ

‰ rœ rœ jœ# jœ œb œn œ# œ3

we'll be join ing Can dle wick

∑

œŒ Ó

∑∑

œœbb œœ œœ œœ œœ œœ

Geppetto begins to havea coughing fit

- - - - -

&?

&?

Pin.

Gep.

Pno.

576 ∑∑

576 ∑jœœ œœ

jœœbb ˙̇

∑Œ j¿b ‰ ‰ jœ jœ jœ jœ3

Agh! It feels like my

∑

jœœ‰ Œ Ó

∑

œb œ œ œ ŒUthroat's on fire

∑∑

Œ ‰ Rœ Rœ œ œ# œSay that one more time!

∑˙̇

Ó∑

&?

&?

Pin.

Gep.

Pno.

580 ∑‰ j¿ ‰ jœb ‰ jœ jœ jœ jœ

3

Hmph! What? That my throat's on

580 ∑∑

∑

œ œ jœ jœ jœn jœ# ‰ Œ3

fi re from this damn cough!?

∑∑

‰ Jœ Jœ Jœ Jœ ˙3

I have an i de

∑œœJœ Jœ Jœ ˙3

∑

Jœ ‰ Œ Óa!

∑


Œ ‰ œ. œ. œ.

-

- -

43 Pinocchio

174

&?

&?

Pin.

Gep.

Pno.

584 ∑∑

584


‰ jœœ## ..œœjœœ

Pinocchio gathers wood and attempts to start a fire ∑

∑



œœ.œœ.

∑‰ jœ œ jœ œ œ œ œ3 3

Pi noc chi o! What are you


Œ ‰ œ. œ. œ.

- - -

&?

&?

Pin.

Gep.

Pno.

587 ∑œ .œb œ ‰ rœ rœ œb œ jœ3

do ing?! Are you try ing to

587

œœ. œœ œ# jœœn# ‰ Œ ‰ ‰

œœ. œ œ Ó3

∑rœb œ œ rœ œ œn jœ œ# Œ3

set your self on fi re a gain?

∑∑

Œ Jœ# œ# œ Œ rœ rœNo, fa ther! If we

∑jœœœ### œœœ œ œ‹ jœœ œœ œ œ‰ Jœ Jœ



œœ

Maestoso q = 72

- - - - -

-

&&?

Pin.

Pno.

590 jœ# jœ jœ œ# œ# ‰ jœ3

set up a fi re The

590 jœœ## œœ œ œ‹ œ œ œ œ# œJœ œ œ JœJœœœ## œœœ œ œ‹ J


œœ

œ# œ rœ jœ Jœ# œ# ‰ ‰ Jœ3

whale will op en its mouth! And

jœœ## œœ œ œ‹ jœœ œœ œ œJœ Jœ



œœ

- -

44Pinocchio

175

&?

&?

Pin.

Gep.

Pno.

592 œ# œ œ ˙# Œlet wat er in!

Ó ‰ jœ# jœ jœ# jœ3

Now I un der

592 jœœ## œœ œ œ‹ œ œ œ œ# œJœ œ œ JœJœœœ## œœœ œ œ‹ J


œœ

Œ Œ ‰ rœ# rœ rœ rœ Jœ#It lets' wa ter in˙# ˙#

stand!

jœœ‹# œœ œ œ‹ œ œ œœ œ œJœ œ œ

Jœœœ##‹ œœœ œ œ‹ œ œ œœœ œ œJ

œœ œœ œœ

-

-

-

&?

&?

Pin.

Gep.

Pno.

594 rœ# rœ jœ Jœ# Jœ# rœ rœ œ œ jœ œ œ3

we can swim out and be gone be fore you ev en

∑594 jœœ‹# œœ œ œ‹ œ œ œ œ# œJœ œ œ Jœ#

Jœœœ##‹ œœœ œ œ‹ J


œœ

Jœ# Jœ Œ Óknow it!

‰ rœ rœ rœ rœ Jœ rœ rœ jœ Rœ rœ jœWe can swim on out and not die in side thisjœœnn œœ œ œ# jœœ œœ œ œJœ Jœ

Jœœœnbn œœœ œ œ# J


œœ

Œ . jœ œ œWe'll swim out!

Jœ Jœ ˙ œwhale. We'll swim out!jœœ œœ œ œ# œ œ œ œ œJœ œ œ Jœb

Jœœœb œœœ œ œ# J


œœ

- -

-

&?

&?

Pin.

Gep.

Pno.

597 ˙ Ó˙ Ó

597 jœœœnn œœœ œ œ# jœœœ œœœ œ œJœ JœJœœœnn œœœ œ œ# Jœœœ œœœ œ œJœœ Jœœ

∑∑

jœœ œœ œ œ# œ œ œ œ œJœ œ œ œbJœœœ œœœ œ œ# Jœœœ œœœ J

œœœbJœœ

∑∑

jœœœnn œœœ œ œ# jœœœ œœœ œ œJœ JœJœœœnn œœœ œ œ# Jœœœ œœœ œ œJœœ Jœœ

∑∑

jœœ œœ œ œ# œ œ œ œ œJœ œ œ œbJœœœ œœœ œ œ# Jœœœ œœœ J

œœœbJœœ

45 Pinocchio

176

&?Pno.

601

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœœ ‰ ‰ œœ## ‰ jœœ Œ

Brisk! q = 120

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ‰ ≈ Rœ# jœ ‰ Œ jœœ#a ‰

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœœ ‰ ‰ œœ## ‰ jœœ Œ

?

&?

Gep.

Pno.

604 ∑604

œœœ## œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ‰ œœ## œœ ‰ Œ jœœ ‰

rit.

Œ . jœ# Jœ# Jœ œUI hope this works!

œœœ## . œœœ. œœœ. Ó ?

œœ## . œœ. œœ. Ó

Ominous q = 92∑


3

œœbb œœjœœ œœ

jœœff

??Pno.

607 jœ œb . œb . œb . œb . œn . œ# .3 3

œœbb œœ œœ œœ œœ œœbb


3

&


jœœ

‰ jœœbb > œœ ‰ œœœb . œœœ. ‰ ?

œœbb œœ œœ œœ œœ œœbb???

Gep.

Pno.

610 Ó ‰ Jœb .œb œPi noc chi

610 œœ œœbb œœbb œœ œœnjœœnn ‰ Ó

3


jœœ

œb ‰ Jœ œ .œ ‰ Jœo! Get rea dy! Ijœ œb . œb . œb . œb . œn . œ# .

3 3

œœbb œœ œœ œœ œœ œœbb

- - - -

46Pinocchio

177

???

Gep.

Pno.

612 Jœb Jœb Jœb .˙3

think it worked!

612 œœ œœbb œœbb œœ œœnjœœnn ‰ œœ œœbb œœ œœ œœn œœnn œœ

3 3


jœœ

∑˙˙˙̇b > ˙˙˙̇>

˙˙˙˙b > ˙˙˙>̇Ï

∑˙˙˙̇b > ˙˙˙̇>

˙˙˙˙b > ˙˙˙>̇??

86

86Pno.

615 ∑ &

wwwwwwww>&

œ œ œ# œ# œ œ œ œ œ œ# œ œ

‰ œœ# œœ œœ œœ œœ

Hopeful yet suspensfulq. = 80

Pœ œ œ# œ# œ œ œ œ œ œ# œ œ


œ œ# œ# œ œ œ œ œ# œ œ œ œ

≈ œ œ œ œ# œ œ œ# œ

&&

Pno.

619 œ œ œ# œ# œ œ œ œ œ œ# œ œ




≈ œ# œ# œ œ œ œ œ# œ# œ œ œ

‰ . ≈ œ# œ# œ œ œ œ œ# œ#?

&&

Gep.

Pno.

622 ‰ œ .œ#We're swim


‰ œœ# œœ œœ œœ œœ..˙̇

fœ ‰ Jœ# jœ Jœ

ming look at my



.œ .œson swim!

œ œ# œ# œ œ œ œ œ# œ œ œ œ

≈ œ œ œ œ# œ œ œ# œ

-

47 Pinocchio

178

?

&&

Gep.

Pno.

625 Œ . Jœ# jœ Jœlook at my



.œ .œson swim



.˙ming!

≈ œ# œ# œ œ œ œ œ# œ# œ œ œ

‰ . ≈ œ# œ# œ œ œ œ œ# œ#

-

?

&&

Gep.

Pno.

628 Œ . Jœ# jœ Jœlook at my



.œ .œson swim



.˙ming!

∑∑

∑

..˙̇U

∑

-

48Pinocchio

179

&&&?

&?

# ## ## ## ## ## #

44

44

44

44

44

44

Pinocchio 1

Mr. Cricket 2

The Blue Fairy

Geppetto

Piano

∑∑∑∑

jœœ œœ œœ œ jœœ œœ œœ œœ∑

q = 80

∑∑∑∑

jœœ œœ œœ œ jœœ œœ jœœ∑

∑∑∑∑

jœœ œœ œœ œ jœœ œœ œœ œœ∑

∑∑∑∑

jœœ œœ œœ œ jœœ œœ jœœ∑

&?

# ## #

Pno.

636 jœœ œœ œœ œœ jœœ œœ œœ œœ∑

Jœœ œœ Jœœ œœ œœ œœ œœ∑

jœœ œœ œœ œ jœœ œœ œœ œœŒ œ œ œ

jœœ œœ œœ œ jœœ œœ jœœ

œ œ œ œ

jœœ œœ œœ œ jœœ œœ œœ œœ

œ œ œ œ&&?

# ## ## #

Pin. 1

Pno.

641 ∑641 jœœ œœ œœ œ jœœ œœ jœœ

œ œ œ œ

∑jœœ œœ œœ œœ jœœ œœ œœ œœ

œ œ œ œ

∑

Jœœ œœ Jœœ œœ œœ œœ œœ

œ œ œ œ

Œ œ œ ‰ jœ œFa ther we madejœœ œœ œœ œ jœœ œœ œœ œœ

œ œ œ œ

-

PinocchioAaron Hunt

©

Score

Act II, Scene 5

180

&&?

# ## ## #

Pin. 1

Pno.

645 jœ ‰ ‰ jœ jœ jœ# jœ jœit! We made it to the

645 jœœ œœ œœ œ jœœ œœ jœœ

œ œ œ œ

œ Œ Œ jœ jœshore! Aren't youjœœ œœ œœ œ jœœ œœ œœ œœ

œ œ œ œ

œ œ jœ œ Ó3

hap py fa ther?jœœ œœ œœ œ jœœ œœ jœœ

œ œ œ œ

rit.

Geppetto has anothercoughing fit, but worsethis time around

‰ jœ œ œ .œ ŒWhat's wrong fa ther?

wwww

- - -

&?

&?

# ## ## ## #

Pin. 1

Gep.

Pno.

649 Œ jœ jœ jœ œ Œ3

Are you o kay?

∑649 ∑

∑

∑∑

œœœ œœœjœœœ œœœ

jœœœ∑

∑∑


jœœœ∑

∑Œ Rœ œ œ œ œ

I'm a fraid not son...


jœœœ∑

-

-

?

&?

# ## ## #

Gep.

Pno.

653 ‰ œ œ œ œ œ œThis trip's been hard on me.

653 œœœ œœœjœœœ œœœ

jœœœ∑

Œ œ œ œ Jœ JœI'm an old man Pi


jœœœ∑

.œ œ œ ‰ jœ œ œ œ3

noc chi o This might be my


jœœœ∑

wtime!


jœœœ∑

- - -

?

&?

# ## ## #

Gep.

Pno.

657 Œ jœ jœ jœ œ œ3

Might be my time

657 œœœ œœœjœœœ œœœ

jœœœ∑

Œ jœ jœ jœ jœ jœ jœ œ œ3 3

Thank you for be ing the son I

wwwww

œ œ .˙nev er had

∑∑

∑

wwŒ œ œ œ

∑

wwŒ œ œ œ

- -

50 Pinocchio

181

&&?

# ## ## #

Pin. 1

Pno.

662 ∑662 ∑

Œ œ œ œ

œ ‰ rœ rœ œ ŒNo, no no no!

∑∑

œ œ Œ œ œ œ œ œ3

Fa ther please be o kay!

∑∑

‰ jœ œ œ ‰ jœ œBlue fai ry where areww

∑

Jœ ‰ Œ Óyou?

Ó . œ∑

- - -

&?

# ## #

Pno.

667 .œ Jœ œ Œwwww

œ œ œ œ œ ˙3


‰ Jœ œ œ œ œ œ3

˙̇˙˙ œœœœ œœœœ œœœœ œœœœ3 3

œ ‰ Jœ.œ Jœ


œ ‰ Jœ œ œ œ œ .œ œ˙̇˙˙ œœœœ œœœœ œœœœ

3

&&&?

# ## ## ## #

Pin. 1

Blue F.

Pno.

672 ∑∑

672 .œ œ œ .œ Jœ

www

∑∑

....˙̇̇̇ œœœœ

...˙̇̇ œœœœœgggggg

∑.œ Jœ œ œ œ

Yes, Pi noc chi o?....˙̇̇̇ Œ.....˙̇˙˙̇ Œ

Œ œ œ œ œ œ Œ3

Please help my fa ther!

∑∑∑

∑‰ jœ œ ‰ jœ œ œ œ3

Oh dear... Gep pet to's not

www∑

- -

-

- -

&&&?

# ## ## ## #

Pin. 1

Blue F.

Pno.

677 ∑

œ œ Jœ ˙ Œ3

look ing so good.

677 ∑∑

‰ jœ œ œ ŒPlease help him!

∑∑∑

‰ rœ rœ jœ jœ jœ jœ jœ jœ œ3 3

I don't care if you make me a real

∑∑∑

œ Œ jœ jœ jœ jœboy! I just want my

∑Œ ..˙̇

∑

-

51Pinocchio

182

&&&?

# ## ## ## #

Pin. 1

Blue F.

Pno.

681 œ œ œ Ófa ther back!

Ó . ‰ JœPi

681 Ó ˙̇

∑

∑.œ Jœ ˙

noc chi o!

∑œœœ œœœ œœœ ˙̇̇

3

∑

Jœ Jœ Jœ Jœ Jœ ˙3

That's what I'd hoped you'd learn!

∑www

∑∑

jœœ œœ œ œ jœœ œœ œ œJœ Jœ∑

Pinocchio looks up, confused

-

- - -

&&?

# ## ## #

Blue F.

Pno.

685 ∑685 jœœ œœ œ œ œ œ œ œ œJœ œ œ Jœ

∑

‰ Jœ œ œ jœ Jœ Jœ Jœ Jœ3

I want ed you to learn to be


˙ ˙self less!

jœœ œœ œ œ œ œ œ œ œJœ œ œ Jœ∑

‰ jœ œ œ œ œ œTo put some ones needs a


- - - -

&&?

# ## ## #

Blue F.

Pno.

689 .œ Jœ ˙bove your own!

689 jœœ œœ œ œ œ œ œ œ œJœ œ œ Jœ∑

‰ œ œ œ œ œ œTo learn to be a goodjœœ# œœ œ œ jœœ œœ œ œJœ Jœ

Œ œ œ œ

œ .˙boy!jœœ# œœ œ œ œ œ œ œ œJœ œ œ Jœ#

œ œ œ œ

‰ œn œ œ œn œ œ œTo be the son Gep pet ojœœn œœ œ œ jœœ œœ œ œJœ Jœ

œ œ œ œ

- - -

&&?

# ## ## #

Blue F.

Pno.

693 œ œn .˙de serves!

693 jœœn œœ œ œ œ œ œ œn œJœ œ œ Jœœ œ œ œ

‰ œ œ œ œ# œ œ œSo now I'll grant both of yourjœœ œœ œ œ jœœ œœ œ œJœ Jœ

œ œ œ œ

œ ˙ ‰ Jœwish es I'lljœœ œœ œ œ œ œ œ œ œJœ œ œ Jœ

œ œ œ œ

- -

52 Pinocchio

183

&&?

# ## ## #

42

42

42

86

86

86

Blue F.

Pno.

696 œ œ œ œ œ œ œ œheal your fa ther and make you a

696 ∑∑

˙real

∑∑

.˙boy!

Œ Jœœœ## œœœ# J

œœœ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

e = 120 ∑œœœ# J

œœœ## œœœ Jœœœ


-

&&?

# ## ## #

Blue F.

Pno.

700 ∑700 œ# œ# .œ# œ œ œ .œ œœœœ## Jœœ# œœœ Jœœ

≈ œ# œ œ# œ œ# ≈ œ œ œ œ œ

∑œ# œ .œ œ œ œ .œ œœœœ##

Jœœ# œœœ Jœœ≈ œ# œ œn œ# œ# ≈ œ# œ œ# œ# œ

Œ . Œ Jœ#A....œœœœ## U .œ

œ# œ‹ œ œ# œ œœ# ...œœœ##U

&&?

# ## ## #

Blue F.

Pno.

703 .œ .œ#real boy!

703 œœœ# Jœœœ## œœœ J


‰ Jœ Jœ Jœ# Rœ# Rœ Rœ# Rœ#Pi noc chi o will be aœœœ# J



‰ œ# .œ#good boy!œ# œ# .œ# œ œ œ .œ œœœœ## Jœœ# œœœ Jœœ

≈œ# œ œ# œ œ# ≈

œ œ œ œ œ

- - -

&&?

# ## ## #

Blue F.

Pno.

706 ‰ . .Jœ .Jœ .Rœ# .Rœ#You learned your


≈œ# œ œn œ# œ# ≈

œ# œ œ# œ# œ

œ Jœ œ Jœles son and now

..œœ# ..œœn≈ œ œ# œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

Jœ# Jœ Jœœ# Rœ Rœ

you will reap your re

..œœ# ...œœœ##≈ œ œ# œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

- -

53Pinocchio

184

&&?

# ## ## #

Blue F.

Pno.

709 .œ# .œward!

709

œ# œ œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≈

œ# œ œ# œ œ# ≈œ œ œ œ œ

Œ . Œ Jœ#A

œ œ# œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≈

œ# œ œn œ# œ# ≈œ# œ œ# œ# œ

&

&?

# #

# ## #

Blue F.

Pno.

711 .œ .œ#real boy!

711 œœœ# Jœœœ## œœœ J


‰ Jœ Jœ Jœ# Jœ# Rœ# RœLiv ing with his lov ing

œœœ# Jœœœ## œœœ J


.œ# .œ#fa ther!

œ# œ# .œ# œ œ œ .œ œœœœ## Jœœ# œœœ Jœœ≈


- - -

&?

&?

# ## ## ## #

Blue F.

Gep.

Pno.

714 Œ . .œ#A

Œ . ‰ . .Jœ#A


≈œ# œ œn œ# œ# ≈

œ# œ œ# œ# œ

.œ .œ#real boy!.œ .œ#real boy!œœœ# J



‰ Jœ Jœ Jœ# Rœ# Rœ Rœ# Rœ#Pi noc chi o will be a

‰ . .Jœ .Jœ .Jœ#A son toœœœ# J



- - -

54 Pinocchio

185

&?

&?

# ## #

# ## #

Blue F.

Gep.

Pno.

717 ‰ œ# .œ#good boy!.Jœ .Jœ# .œ

call my own!

717 œ# œ# .œ# œ œ œ .œ œœœœ## Jœœ# œœœ Jœœ≈


‰ . .Jœ .Jœ .Rœ# .Rœ#You learned your

‰ jœ jœ Jœ# Rœ# Rœ Rœ# Rœ#A son to call my ve ry

œ# œ .œ œ œ œ .œ œœœœ##Jœœ# œœœ Jœœ

≈œ# œ œn œ# œ# ≈

œ# œ œ# œ# œ

œ Jœ œ Jœles son and now.˙

own!

..œœ# ..œœn≈ œ œ# œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

-

-

&?

&?

# ## ## ## #

Blue F.

Gep.

Pno.

720 Jœ# Jœ Jœœ# Rœ Rœ

you will reap your re

‰ œ# œ œ# œ# œA son to call my

720 ..œœ# ...œœœ##≈ œ œ# œ œ œ ≈ œ œ œ œ œ≈ œ œ# œ œ# œ ≈ œ œ œ œ œ

.œ# .œward!

.˙

œ# œ œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≈


-

55Pinocchio

186

&&?

&?

# ## ## ## ## #

Mr C. 2

Blue F.

Gep.

Pno.

722 Œ . .œ#A

Œ . .œ#A

Œ . .œ#A

722

œ œ# œ# œ# œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≈

œ# œ œn œ# œ# ≈œ# œ œ# œ# œ

.œ .œ#real boy!.œ .œ#real boy!.œ .œ#real boy!

∑∑

&&?

# ## ## #

Mr C. 2

Blue F.

Gep.

724 ‰ jœ jœ jœ# jœ# rœ# rœ#Pin noc chi o a

‰ Jœ Jœ Jœ# Jœ# Rœ# Rœ#Pin noc chi o a

‰ jœ jœ Jœ# Jœ# Rœ# Rœ#Pin noc chi o a

.œ# .œ#real boy!.œ# .œ#real boy!.œ# .œ#real boy!

Œ jœ# .œA real

Œ Jœ# .œA real

Œ Jœ# .œA real

œ# jœ# .œboy! A realœ# Jœ# .œboy! A real

œ# Jœ# .œboy! A real

- - -

- - -

- - -

56 Pinocchio

187

&&&?

&?

# ## ## ## ## ## #

Pin. 1

Mr C. 2

Blue F.

Gep.

Pno.

¤

728 Œ . Œ jœ#A

.œ# œ jœ#boy A.œ# œ Jœ#boy A

.œ# œ Jœ#boy A

728 ∑∑

.˙real

∑∑∑∑∑

.œ Œ .boy!

∑∑∑

Œ . .œ

∑p

57Pinocchio

188

VITA

Aaron Hunt, originally from Ewa Beach, Hawaii, now resides in Knoxville, Tennessee.

He has had his music performed throughout the United States and Eastern Europe, with his

international premiere in Tbilisi, Georgia in 2016. Aaron has written works for VolOpera,

Appalachia: A Southeastern Wind Symphony, The University of Tennessee Graduate String

Quartet, The Belmont New Music Ensemble, The Dolce String Quartet, Samvel Perikhanian, The

Tennessee Tech Percussion Ensemble, and various university ensembles at Tennessee Tech

University and The University of Tennessee, Knoxville. His works have been performed at The

University of Tennessee, Knoxville, Vanderbilt University, The Republic of Georgia, and

Tennessee Technological University. Aaron holds a BM in Performance with an emphasis in

Music Composition from Tennessee Technological University in Cookeville, Tennessee. He is

currently pursuing his MM in Music Composition and a certificate in Music Theory Pedagogy

from The University of Tennessee, Knoxville, where he holds a graduate teaching assistantship

with the Theory/Comp department.

!189

Documents

Pinocchio: An Opera in Two Acts